Interviews with Esra Basmaz

My design journey began with studying painting at Istanbul Anatolian Fine Arts High School. This education gave me more than drawing skills; it taught me to observe composition, color, light, shadow, and the relationship between solid and void. I later studied Interior Architecture at Mimar Sinan Fine Arts University, where I learned to combine this visual foundation with space, function, and human scale.

During the early years of my career, I worked in concept design, technical documentation, production control, and site management. I later developed retail, showroom, office, residential, and wellness projects in Türkiye, Europe, and Central asia regions. Today, through my own studio, I continue a holistic interior design practice that brings artistic intuition together with technical knowledge and implementation experience.

My main motivation is the power of space to transform people’s emotions, behavior, and everyday lives. Through my education in painting, I learned at an early age how light can change a surface and how color can reshape a composition. Interior architecture gave me the opportunity to transform this knowledge into spaces that people can physically experience.

Growing up in Istanbul has also been a major influence on my design perspective. Istanbul is a deeply layered city with a powerful urban memory, extending from Byzantine and Ottoman heritage to traditional houses and modern structures. The coexistence of different periods, scales, materials, and ways of living within the same streets taught me that design is not created from a single image, but from layers accumulated over time. For me, designing is therefore not only about creating something new; it is about reading the memory of a place and adding a contemporary layer to it.

Design was never a profession I was forced into; it was a conscious choice that developed very naturally. Since childhood, I had been interested in painting, color, form, and space. My journey began with fine arts education and gained a more tangible direction through interior architecture. In that sense, I could say that I chose design, but design also gradually chose me.

I design residences, villas, corporate offices, retail stores, showrooms, wellness spaces, and spas. I am particularly drawn to projects where architectural identity, user experience, and a distinctive story can be developed together. In the future, I would like to design more boutique hotels, wellness destinations, refined residences, and concept-driven public spaces on an international scale.

Rather than describing myself as a “design legend,” I see myself as an experienced designer who is still learning. I would advise young designers to protect their curiosity, understand construction processes as deeply as visual outcomes, and remain patient while discovering their own language. A meaningful career requires discipline, consistency, observation, and the courage to learn from mistakes as much as it requires talent.

A good designer produces the right solutions; a great designer also asks the right questions. They recognize needs beyond what the client initially expresses, understand the context, and can justify every aesthetic decision. The distinction lies not only in creating beauty, but in establishing an almost invisible balance between function, emotion, technical reality, and longevity.

I never evaluate a design solely by how it looks in photographs. I consider how the space interacts with its users, whether circulation feels natural, how details are resolved, whether materials are used honestly, and how the design will live over time. Truly good design is visually compelling at first sight, yet becomes more meaningful and proves itself through use.

Good design is not merely an aesthetic expense; it is a long-term investment in quality of life. A well-planned space uses time, energy, and resources more efficiently while giving its users comfort, belonging, and confidence. In commercial environments it strengthens brand value and engagement, while in homes it improves the quality of everyday life.

If time and circumstances allowed complete freedom, I would design a public living center that brings generations together through art, nature, learning, and wellbeing. Rather than serving a privileged group, it would be accessible and inclusive—a place where everyone, from children to older people, could feel welcome and connected.

My dream is to design a boutique hotel and wellness destination that brings Mediterranean light and nature together with the spatial memory of Ottoman architecture through a contemporary interpretation. From the Mediterranean, I would draw upon white surfaces, natural stone, water, vegetation, and shadows that change throughout the day. From Ottoman architecture, I would reinterpret the courtyard, geometric order, layers of privacy, and rhythmic transitions between interior and exterior.

Rather than imitating historical forms, I would translate the spatial thinking behind them into contemporary life. Creating a timeless place where guests do more than stay—where they slow down, reconnect with nature, and experience the spirit of the space—would be a true dream project for me.

My secret ingredient is attention: listening carefully to people, reading the space closely, and recognizing how the smallest detail can influence the whole. I would add discipline and intuition to that. I do not rely solely on the first idea; I question it repeatedly, refine it, and test it against the realities of implementation.

I am inspired by Carlo Scarpa’s sensitivity to detail, Luis Barragán’s ability to transform color and light into architectural emotion, Tadao Ando’s clarity, and Peter Zumthor’s mastery of atmosphere. Gio Ponti’s holistic approach also influences me. I also deeply admire Mimar Sinan’s command of proportion, structure, light, and spatial hierarchy.

Carlo Scarpa’s Brion Cemetery deeply moves me because it demonstrates how architectural detail can carry emotion. I also admire Luis Barragán’s Casa Gilardi for transforming color, light, and water into a restrained yet unforgettable spatial experience. In both works, nothing feels merely decorative; every decision serves the spirit of the whole.

It is difficult for me to select one project as my greatest design, but Azura Frame and Elysia Wellness represent two distinct aspects of my design language particularly well.

In Azura Frame, the strong geometric frames were not used merely as visual statements. They became the primary design tools that organize the space, direct views, and translate Natura Yapı’s corporate identity into an architectural language. The balance between precise geometry, softer transitions, natural textures, and controlled use of color defines the project’s character.

Elysia Wellness developed through a more sensory approach. Through water, light, reflection, natural materials, and fluid transitions, I aimed to create a calm atmosphere that allows users to step away from the pace of everyday life. The strength of both projects lies in the consistency of their concepts, extending from planning and material selection to lighting and the smallest details. Receiving two separate A’ Design Awards also demonstrated that this conceptual integrity resonated on an international level.

I believe designers should follow not only their own discipline, but also art, psychology, sociology, technology, and craftsmanship. I improved by remaining closely involved in implementation and observing how every drawn detail translated into workshop and site conditions. Working across different countries also broadened my understanding of culture, user habits, and technical standards.

I would probably still be working in a field connected to art. I might have pursued painting, art direction, or another profession that makes creative ideas visible for people and brands. Whatever the field, color, composition, storytelling, and human behavior would certainly have remained part of my life.

For me, design is the act of transforming need, emotion, and thought into a meaningful order. It is not only about how something looks, but also how it functions, how it feels, and what it contributes to human life. However, I believe that good design must look as good as it functions. I cannot include something in a design simply because it is functional if it does not also resonate with me visually and emotionally.

For me, aesthetics is not an ornament added to function afterwards; it is one of the fundamental values of design. An object or a space must possess its own sense of elegance, visual balance, and an aesthetic quality that evokes a positive feeling. My non-negotiable principle is that function, emotion, and beauty should exist together as inseparable parts of the same whole.

My family’s support has been essential throughout my journey. Their encouragement of my artistic direction, their trust during demanding periods, and their presence while I built my own path gave me great strength. I also believe that everything I learned from teams, craftspeople, clients, and colleagues has contributed to the practice I have today.

Working across different scales and geographies allowed me to see the real-life consequences of design decisions. The diversity of projects—from retail and bathrooms to residences and offices—developed my understanding of pace, detail, user experience, and brand language. Most importantly, I learned to see every completed project not as an ending, but as the beginning of new learning.

At different stages of my career, one of the greatest challenges was balancing creative ambition with budget, time, and construction realities. When I founded my own studio, I also had to learn how to be a decision-maker, manager, and entrepreneur. Rather than limiting me, these challenges made me more resilient, realistic, and solution-oriented.

Designers should present their work not only through beautiful photographs, but also through the intellectual journey of the project. It is important to explain the initial problem, why key decisions were made, and what the result contributes to the user. A strong presentation creates a clear and honest connection between drawings, materials, details, process, and completed space.

In the coming period, I aim to expand my experience in residential, corporate, and wellness interiors on a more international scale. You can expect projects built on strong concepts, using material and light sensorially without losing functional clarity. I also hope to collaborate across disciplines and extend my design language into products and broader experiences.

My ultimate goal is not simply to create recognizable spaces, but to leave behind a distinctive design language capable of enduring over time. I want to design places where people feel well, that remain functional for years, and that add value to their surroundings. Sharing my knowledge and experience with younger designers is also an important part of that goal.

I believe people expect reliability as much as originality from an experienced designer. Beyond generating beautiful ideas, a designer must keep promises, manage the process responsibly, and remain accountable until completion. For me, professional esteem is less about visibility and more about consistency, integrity, and the quality of the realized work.

Design directly influences society by creating environments that are accessible, safe, healthy, and respectful of human dignity. From schools and hospitals to homes and public spaces, well-designed environments can improve how people relate to one another and their surroundings. To contribute to a better society, design must enhance everyone’s quality of life, not serve only the privileged.

I am currently working on interior projects shaped by different user profiles and needs. What excites me most is searching for an identity unique to each space instead of repeating familiar solutions. I particularly enjoy developing projects that combine natural materials, clear geometry, and biophilic elements through a contemporary interpretation.

The international retail and showroom projects I adapted across different countries gave me valuable experience in design systems and cultural interpretation. Elysia Wellness and Azura Frame, meanwhile, allowed me to express my own design language more freely and later received international recognition. For these reasons, they hold a distinctive place in my professional journey.

I would like sustainability to move beyond marketing language and become a measurable, genuine responsibility within the design industry. I also believe creative labor, implementation knowledge, and intellectual property deserve greater recognition. More transparent collaborations and a healthier professional culture—where young designers gain experience without being exploited—are equally important.

I believe design will become increasingly integrated with technology, while tactility, nature, and human experience will gain even greater value. Artificial intelligence and data will accelerate option generation and analysis, but the designer’s essential role will remain asking the right questions, interpreting context, and making meaningful choices. The future lies in a balanced collaboration between technology and human intuition.

The duration depends on the scale, scope, and specific needs of the project. Every project has its own rhythm; in some commercial projects, we need to move much faster and complete the design and implementation processes within only a few months. However, my design process has two fundamental stages: inspiration and operation.

Once I fully concentrate on a project and discover its point of departure—the key idea that will carry the entire design—the project is largely resolved in my mind. When the central idea is right, the spatial flow, materials, colours, and details begin to follow one another naturally. The next stage is operational: developing that idea through technical knowledge and experience, translating it into detailed drawings, and making it fully buildable.

I enjoy working quickly and dynamically. Rather than allowing a project to continue for so long that it loses its initial energy and momentum, I prefer to clarify the concept in my mind and translate it into every necessary detail while the inspiration is still fresh. For me, the right duration is not a predetermined timeframe, but the amount of time each project genuinely requires to preserve the quality of the design and meet its implementation goals.

I begin every new project by listening and observing. I study the user, program, existing conditions, daylight, circulation, and environmental context. I then try to define the central idea of the project in one strong sentence. Planning, materials, and detailing subsequently develop around that core idea.

My motto as a designer is: “Build the meaning first, then the form.” When a space clearly understands why it exists and whom it serves, its aesthetic decisions become stronger and more enduring. Form matters to me, but I believe it is the thought behind it that gives form real value.

I see it as a two-way relationship. Trends make the social, technological, and economic changes of an era visible, while design can interpret those changes and create new directions. Enduring design, however, should understand the genuine needs behind trends rather than simply follow them. I observe trends as data, but I do not allow them to become the main driver of a project.

Technology is a valuable tool in research, visualization, coordination, and decision-making. It helps us test ideas faster, compare alternatives, and communicate projects more clearly to stakeholders. However, I do not see technology as an authority that replaces design thinking, but as an instrument that expands the designer’s capacity to think and create.

I use technical drawing, three-dimensional modeling and visualization, image-editing, and presentation software in my work. Depending on the project stage, digital measurement tools, material libraries, and coordination platforms also become part of the process. Nevertheless, sketch paper and pencil remain the fastest and freest tools for capturing the first idea.

I do not consider color, material, light, and atmosphere independently; together, they establish the emotional character of a space. Influenced by my education in painting, I use color not merely as decoration, but as a powerful tool that directs composition and spatial perception. Material brings tactility, authenticity, and a sense of time to the interior.

I am inspired by the way white surfaces carry light in Mediterranean architecture, the weight of natural stone, and shadows that change throughout the day. In Ottoman spaces, I am drawn to the controlled use of daylight, geometric order, and transitions between inside and outside. Rather than reproducing these influences literally, I translate them into contemporary atmospheres through natural materials, clear geometries, balanced colors, and layers of light.

I would like people to ask not only, “Why does this place look beautiful?” but also, “Why does this space make me feel this way?” The invisible layers of design are hidden in the direction of light, proportions, circulation, and the quiet relationships between details. Curiosity about the thinking behind a project means more to me than admiration of its appearance alone.

I first look at its clarity: how naturally has it resolved a complex problem? Then I become curious about its details, production process, and relationship with the user. When I encounter truly excellent design, I feel excitement , because it reminds me how many possibilities remain to be discovered.

My ideal design partner has strong ideas, shares expertise generously, and is equally capable of listening. I believe in interdisciplinary co-design. When architects, interior designers, engineers, landscape designers, artists, craftspeople, and users communicate effectively, a project can reach a richness that no single person could achieve alone.

My design has been influenced not only by people, but also by the city I live in and the cultures I have encountered. Istanbul’s multilayered urban memory—its historic structures, streets, courtyards, Bosphorus light, and the coexistence of different eras—continues to nourish my visual world.

The experienced architects, implementation teams, and craftspeople I worked with early in my career taught me that a design idea reaches its true value only through precise detailing and production knowledge. Working in different countries also showed me how user habits and cultural context can reshape design. My current approach is therefore not the result of one individual influence, but of Istanbul’s memory combined with these professional and cultural encounters.

I enjoy exploring photography books and becoming immersed in their visual worlds; however, the books that have influenced me most are primarily works of literature. I particularly enjoy Russian literature, especially Dostoevsky, as well as the works of Jack London and Haruki Murakami. Reconstructing the worlds they describe in my imagination and feeling as though I am moving through their spaces is a very special experience for me.

Each of these writers creates a distinctive sense of place, atmosphere, and emotion. Sometimes the silence of a room, the coldness of a street, the way light falls on a surface, or a character’s relationship with their surroundings becomes a powerful image in my mind. I would not say that these books influence my designs in a directly formal way, but they certainly nourish my imagination, my perception of atmosphere, and my belief in the power of a space to tell a story.

My skills developed through years of repetition, observation, and responsibility. Creating concepts, preparing technical documentation, controlling production, solving problems on site, and evaluating results from the user’s perspective were all part of that development. Over time, I learned which decisions require persistence and where flexibility is wiser. I believe mastery is not perfection, but the ability to continue learning.

I would like to meet Mimar Sinan. It would be fascinating to discuss proportion, light, structure, and human scale with him, and to understand how he created spaces that remain powerful centuries later. I would especially want to hear how he brought technical mastery and spiritual atmosphere together so naturally.

Receiving two separate A’ Design Awards for Elysia Wellness and Azura Frame marked an important milestone in my career. One represents my sensory approach to wellness design, while the other reflects my geometric and conceptual language in a corporate interior. For me, these awards therefore recognize not only two individual projects, but also different dimensions of the design approach I have developed over the years.

However, I would not describe myself as famous. Visibility brings new responsibilities as well as opportunities. What matters to me is maintaining the same curiosity and discipline without allowing recognition to become more important than the work. I see awards not as a destination, but as encouraging signs that the journey is moving in the right direction.

My favourite colour is a warm, deep shade of purple. It is not necessarily a colour I feel compelled to use in every project; rather, it is the colour that best expresses my inner world. If my inner self had a colour, I believe it would be purple, because for me it brings together creativity, intuition, depth, and a touch of mystery. In design, however, I enjoy combining white and natural stone tones with unexpected accents of bold colour.

My favourite places are those where the light, nature, and history of the Mediterranean can be experienced together. I love simple Mediterranean dishes prepared with olive oil, the sense of renewal that comes with spring, and my sketchbook, where I can record ideas freely. When it comes to brands, I admire those that build a distinctive and consistent identity over time rather than simply following temporary trends.

A recurring and amusing experience in our profession is hearing clients say, “I don’t like color,” only to choose the boldest color in the project later. In one project, we began with a very restrained palette, yet the detail the client ultimately loved most was the strongest color in the space. It reminded me that people sometimes discover what they like only after seeing it within the right context.

Seeing an idea become clear on paper, resolving a difficult detail, or witnessing a user’s happiness in a completed space can make my day. When my motivation decreases, I return to the original question rather than forcing the outcome. Touching materials, sketching, and reconnecting with art or nature help open my mind again.

As a child, it was not yet clear exactly which profession I would pursue, but my interest in the visual world and in creating spaces was already quite evident. I drew constantly, but I also folded cardboard into small roofless model houses and furnished their interiors with chairs, tables, and other pieces that I made by folding paper. Sometimes, at the end of the day, my father would not quite understand what these little constructions were and would clear them away. Rather than giving up, I would begin again the next day, making each new version more detailed and putting even more effort into it.

Attending a fine arts high school later became a more conscious and concrete step in that direction. Looking back today, I can say that my earliest practice of interior architecture began with those cardboard houses, and that the foundations of my identity as a designer were quietly taking shape during those years.

It is impossible to predict a thousand years from now, but humanity will probably be far more integrated with technology. Even so, I believe our fundamental needs—for shelter, belonging, safety, connection with nature, and meaning—will remain. The greatest design question of the future may be how to balance the speed of progress with planetary limits and the essence of being hu

I hope people see in my work not only an aesthetic signature, but also the care devoted to each project and a genuine respect for people. Throughout my design journey, I try to protect my curiosity, avoid repeating myself, and ask new questions with every space. Awards and recognition are valuable, but the most meaningful success is seeing the places I design genuinely loved and lived in.

My relationship with design began with painting, before interior architecture. I studied painting at Istanbul Anatolian Fine Arts High School and later Interior Architecture at Mimar Sinan Fine Arts University. I don't think there was a single moment when I decided to become a designer; thinking visually and observing proportion, colour, light and space had already become a natural part of my life. Painting taught me how to look and truly see; interior architecture taught me how to transform what I see into spaces that can be experienced. Even today, when I begin a project, I instinctively think first about composition and the feeling a space should create.

Esra Basmaz Interior Architecture is an Istanbul-based design studio. We are involved in every stage of the process, from concept design and project development to implementation. Our primary areas of expertise include residences and villas, corporate offices, retail stores and showrooms, as well as wellness and spa projects.

For me, the studio’s most defining quality is its commitment to discovering the unique identity of each project rather than applying the same visual language to every space. I care deeply about creating interiors and concepts that establish a strong connection with the architecture, function, and users of a space, ultimately fostering a genuine sense of belonging. I believe a space should not only be aesthetically compelling but should also feel truly connected to its own character and to the people who experience it. For this reason, alongside aesthetics, we place equal importance on feasibility, functionality, and longevity.

For me, design is, before anything else, the art of creating the right relationships — between people and space, function and emotion, light and material, presence and emptiness. Good design does not need to shout to be noticed. Sometimes its greatest strength is simply making everything feel as though it belongs exactly where it should.

I enjoy projects that give me the opportunity to build a strong spatial narrative. Whether it is a residence, an office or a wellness environment is less important to me than having the freedom to develop its identity through light, material, geometry and detail as one coherent whole.

It is difficult for me to choose a single favourite because every project carries something from the period in which it was created. However, Azura Frame Corporate Office represents my current design approach particularly well. It balances strong geometry with softer forms and corporate clarity with a more human atmosphere. We used the idea of the “frame” not merely as a visual motif, but as an architectural tool to define, connect and reveal different perspectives within the space. For this reason, its recognition with an A' Design Award was especially meaningful to me.

The first thing I designed for a company was a pendant light for a private seating area within a hotel. I was at the very beginning of my career, and it was a valuable experience to see how even a single design element could influence the atmosphere, scale, and perception of a space. Looking back, I can connect that early experience to the importance that light and detailing still hold in my design approach today.

I don't have a single favourite material. I tend to evaluate materials through their relationship with one another and with light. I enjoy balancing natural stone, wood, metal, glass and tactile surfaces. I see technology in much the same way: not as something that should dominate design, but as a tool that helps us develop and realise an idea more precisely.

Usually during the early stages of a project, when nothing has been fully decided yet. Once I begin to understand the brief, the plan and the people who will use the space, there is often a moment when different possibilities suddenly connect. It may happen while sketching, touching a material, or even while doing something completely unrelated. I don't believe creativity operates only during designated hours at a desk.

I begin with planning, proportion, circulation and light, followed by material, colour and detail. But I never see these as separate layers. A space that looks beautiful but does not function well is not successful to me. Equally, a space that merely performs its function but leaves no emotional impression feels incomplete.

Curiosity and excitement. I particularly enjoy the moments when I haven't found the solution yet. Design is partly about asking questions, and the question “Could this be different?” still excites me.

Seeing an idea leave the drawing board and become a physical space is still very special. But the most rewarding moment is usually not the photoshoot; it is seeing people begin to use the space naturally. At that point, the design stops belonging only to you and begins to have a life of its own.

A successful design solves its function intelligently, creates a connection with its users and expresses this through a strong yet balanced aesthetic language. Time is also an important test. A space that still works and feels relevant years later is successful to me.

look at the atmosphere it creates and how that feeling extends through the spatial flow, proportions, function, and details. I then consider the design as a whole: Can I understand the idea behind it? Do its elements communicate with one another? In a strong design, emotion, function, and aesthetics are never disconnected, and the details support the whole rather than compete with it.

A designer should consider not only the immediate result, but also the long-term consequences of each decision. Reducing unnecessary consumption, creating durable solutions, using materials intelligently, and considering human wellbeing and environmental impact are all part of our professional responsibility.

Technology and artificial intelligence are rapidly transforming the design process. I don't think this will diminish the role of the designer; instead, it will increasingly require designers to become not only creators, but also editors, interpreters and decision-makers. Tools may change, but culture, intuition, experience and the ability to understand people will become even more valuable. I believe the best design of the future will balance technological intelligence with human sensitivity.

My most recent exhibition participation was the award-winning designs exhibition held in Como, Italy, as part of La Notte Premio A’ and the A’ Design Award events on 16 July 2026. Having my Bronze A’ Design Award-winning projects, Azura Frame Corporate Office Interior and Elysia Wellness Interior, presented in an international design setting was a very special and proud experience for me.

There is no confirmed date for my next exhibition yet. However, I would be delighted to participate in international design events again with my future projects and to share my work with design professionals and audiences from different cultures

Much of my inspiration comes from outside architecture: art, travel, nature, fashion, materials and especially the way light changes from one city to another. The Mediterranean relationship with light, shadow and natural materials, together with Istanbul's layered architectural culture, has had a strong influence on me. I see inspiration less as an image to reproduce and more as a visual and cultural memory that accumulates over time.

I do not find it entirely accurate to define my style through a single aesthetic category. However, clear geometry, strong contours, a balance between linear and curved forms, natural materials, light, and a controlled yet confident use of colour are recurring elements in my work.

I want a space to have character, but I do not believe that character comes from complexity, excess, or passing trends. In my approach, the character of a space emerges from the balance between materials and colours, solid and void, light and proportion. Much like the composition of a painting, every element should serve the whole and find its rightful place within it. For me, character comes not from visual noise, but from thoughtful and balanced decisions.

I live and work in Istanbul, a deeply layered city where different periods and cultures coexist. I am influenced by the geometry, rhythm, courtyards and thresholds of Ottoman architecture, as well as the Mediterranean relationship with light, shadow and natural materials. I don't use these as literal stylistic references. What interests me is not reproducing the past, but translating its spatial intelligence into a contemporary language.

I begin by understanding the brand — not only who they are, but how they want to be perceived and who will experience the space. I see the designer-client relationship as a creative collaboration rather than a one-directional service. The strongest results emerge when there is mutual trust.

I would suggest looking beyond portfolio images and understanding how a designer thinks. A good designer does not simply execute what a client asks for; they ask the right questions, sometimes challenge the brief, and can reveal needs the client has not yet articulated. Communication and trust are just as important as stylistic compatibility.

I begin by listening and analysing. I study the user, function, existing architecture, light, circulation and the constraints of the project. From there, I establish a central idea and develop the planning, materials, colour, lighting and details around it. For me, design does not end with a concept presentation; detailing and implementation are integral parts of the process. In Azura Frame, for example, the idea of the “frame” was carried consistently from the initial concept through to the realised details.

Rather than naming five individual design objects, I would prefer to mention a few corners of my home that bring me the greatest sense of calm and reflect me most personally. My reading chair, the shelving unit where I keep my plants, and my large bookcase—filled with carefully selected copper objects and accessories collected from different countries—are among my favourites. For me, they are not merely aesthetic elements; they are also connected to my memories, interests, and way of living. What I appreciate most about my home is the balance of solid and void, together with the colour composition created by all these elements. It is this sense of harmony that gives me genuine tranquillity and belonging.

Very few of my days look exactly alike. One day may be spent largely in the studio developing designs and meeting with the team or clients, while another may find me on site resolving details or discovering new materials. Outside work, art, fashion, travel and the visual world of everyday life also remain part of my design practice. When you are a designer, observation does not really stop when the working day ends

I would tell young designers to look at as much as possible, but not to imitate everything they see. Learn to draw, understand materials and learn how details are actually made. Follow trends, but build your own visual memory. And perhaps most importantly, don't fall in love with your first idea. Good design often emerges from questioning it again and again.

One of the greatest rewards is creating something that did not previously exist and eventually seeing it become part of people's everyday lives. The difficult side is that design rarely switches off in your mind. You can almost always imagine another way to improve something. I suppose that is both one of the most demanding and one of the most beautiful aspects of the profession.

Every decision should have a reason. A line, colour, material or object should not be there simply because it is beautiful. It should have a purpose and meaning within the whole.

Observation, curiosity, spatial thinking and problem-solving. Technical knowledge and communication are equally important, because a good idea only becomes real design when it can be communicated and executed successfully.

Sketching remains an important part of my thinking process. We also use technical drawing, 3D modelling and visualisation tools, while physical material samples and moodboards remain extremely valuable to me. Digital archives, art, fashion, travel and design publications are part of my visual research. More recently, I have also been using AI as a supporting tool, particularly for research and for testing ideas from different perspectives.

I find it important to divide a project into clear stages and, where possible, separate creative decision-making from technical and operational processes. Of course, interior architecture cannot always be controlled by a schedule, particularly during implementation when decisions sometimes need to be made quickly. Experience teaches you which decisions require immediate action and which deserve more time.

There is no single answer in interior architecture. Depending on the scale, existing conditions, level of detailing and scope of implementation, a project may take anything from several months to more than a year. What matters to me more than speed is maintaining the integrity of the original idea throughout the process.

Perhaps the question I hear most often is, “Where did this idea come from?” In reality, the answer rarely comes from one source. Design often emerges when things you have seen, learned and experienced over many years suddenly connect in the right way.

Rather than a single project, one of the most formative experiences of my career was developing retail and showroom projects for international brands across different countries early in my professional life. It taught me that design is not only about creating an idea; maintaining its quality across different cultures, technical conditions and implementation teams is equally important. That experience still influences the way I run my own studio today.

Throughout my career, I have had the opportunity to work with international brands as well as private and corporate clients. My experience includes projects associated with international brands such as Duravit, Geberit and Bestseller Group. Through my own studio, we develop projects across different scales, from corporate offices and private residences to villas, wellness environments and commercial interiors.

I most enjoy projects where I can build an identity from the beginning and carry it through to the smallest details. Residential, corporate and wellness projects allow me to explore the relationship between people and space in very different ways. The most exciting projects for me are those that begin with a strong idea and allow that idea to permeate every detail.

I would like the studio to develop more projects internationally, particularly residential, hospitality, wellness and corporate environments with strong architectural identities. I am also interested in translating my design language into different scales and exploring more custom-designed objects and details alongside interior architecture. For me, growth does not simply mean doing more projects; it means creating more meaningful and enduring work.

I lead the creative direction and principal design decisions; however, interior architecture is collaborative by nature. I always work alongside an interior architect, and depending on the scale and intensity of the projects, the interior design team may expand. We also collaborate on a project basis with external engineers, consultants, manufacturers, and implementation teams.

Interns also hold a special place in our working environment. I place great value on helping interior architecture students experience the profession through real project processes, gain practical knowledge, and build a strong foundation for their future careers. I believe that behind every strong and successfully realised interior is a well-coordinated collaboration between different areas of expertise.

We are currently working on a mixed-use business centre project of approximately 4,000 square metres in Başakşehir, Istanbul. Bringing different functions together under a cohesive architectural identity, the project is particularly exciting in terms of both its scale and scope.

In addition, we recently completed the interior design of a retail store for a corporate brand in Mecidiyeköy, Istanbul, and are now moving into the construction and implementation phase. Seeing the design decisions come to life on site is always one of the most exciting parts of the process for me.

You can follow our work and latest projects through our website and Instagram account:

Website: https://www.esrabasmaz.com

Instagram: https://www.instagram.com/esrabasmaz_icmimarlik/

For new project enquiries, collaborations, and press requests, you are welcome to contact us directly at info@esrabasmaz.com.

What continues to excite me most about design is that every new project offers an opportunity to question things again and develop a language unique to that particular space. If a space has a bold character and needs to express itself loudly, the design should allow it to do so—while always preserving balance and harmony. If its spirit calls for calmness, flow, and comfort, then its identity should be shaped accordingly.

For me, design is not about forcing a space into a predetermined style, but about understanding what that space genuinely wants to become. All the project’s defining elements are filtered through my experience and design identity to form the central idea and concept. Without losing its essential character, this idea is then enriched by the users’ needs and feedback, ultimately creating a distinctive spatial composition in which aesthetics, function, and emotion coexist.