Interviews mit Elif Ergin

I have been working in interior architecture and design for more than twenty-five years. I graduated from Bilkent University, Department of Interior Architecture and Environmental Design, and later completed my master's degree in Interior Architecture at Haliç University. My professional journey began with Şevki Vanlı Architecture in Ankara and later evolved into co-founding Tasarimhane in Istanbul in 2011. Over the years, I have led residential, hospitality, diplomatic, and international projects across different countries including Turkey, Libya, Azerbaijan, and Kazakhstan. Alongside practice, I currently teach Professional Practice and Ethics at Bahçeşehir University. My career has always been driven by curiosity and by the belief that design has the power to shape experiences and human connections.

Becoming a designer never felt like a sudden decision; it felt more like a natural direction. I was always interested in how spaces influence emotions and behavior. I became fascinated by the relationship between people and environments at an early age. My education and early professional experiences strengthened this interest, but the real motivation came from an internal desire to transform ideas into experiences. Design became a way of understanding people, culture, and everyday life through space.

My priorities are atmosphere, proportion, and human experience. I begin each project by understanding its emotional and functional intentions before thinking about form. I use both traditional and digital methods throughout the process, from sketches and material studies to BIM workflows and visualization tools. I also create environments that resonate with the spirit of each project; sometimes I temporarily work from a café, museum, library, or even another city or country that feels connected to the atmosphere I am trying to create.

Designing is a balance between excitement and reflection. The earliest stages are often the most thrilling because possibilities remain open and ideas begin to emerge naturally. I enjoy the journey itself as much as the final result. Seeing an abstract thought gradually become a real experience is one of the most rewarding aspects of the process.

Working across different countries and cultures significantly shaped my perspective. International projects taught me adaptability and strengthened my ability to listen and understand different ways of living. Teaching also influenced me deeply because education creates a continuous exchange of ideas. Beyond design skills, observation, communication, curiosity, and empathy have become equally important tools in my journey.

I would like to continue expanding interdisciplinary and international work while strengthening the connection between practice, education, and research. I am especially interested in exploring how technology and human experience can coexist more naturally within spaces. A dream project for me would be creating a large-scale cultural environment where architecture, art, public interaction, and emotional experience come together.

Remain curious and develop your own voice. Trends change quickly, but observation, authenticity, and discipline remain timeless. I would strongly encourage young designers to travel and build meaningful networks. Different places and cultures expand perspective in ways no classroom can fully provide. Design education happens through people, experiences, and relationships as much as through institutions.

Do not become overly attached to trends or personal habits. Stay curious and remain open to different disciplines and perspectives. Design requires sensitivity as much as knowledge. Observe carefully, collaborate generously, and remember that successful design is not only about creating visually impressive work but also about creating meaningful experiences.

No two days are ever the same, and I can honestly say I begin each day with enthusiasm. I wake up very early, usually around five in the morning, and start the day with a good breakfast while listening to birdsong and sounds from nature. That quiet time creates a sense of clarity before the pace of the day begins. My schedule constantly shifts between teaching, project meetings, design reviews, research, and creative exploration. Travel is also an important part of my professional life; sometimes consecutive days can take me to different cities or even different countries. I enjoy this rhythm because every new place, conversation, and experience becomes part of the creative process.

I follow developments in design, architecture, technology, and culture, but I try not to become dependent on trends. Trends can be inspiring, but they are temporary by nature. I prefer focusing on timeless qualities such as proportion, atmosphere, materiality, and human experience. Travel, exhibitions, books, art, and observing everyday life often influence me more than seasonal trends.

For me, good design creates a natural balance between function, emotion, and identity. A successful project should feel coherent and effortless, even if it is the result of a very complex process. I often ask whether the space creates a meaningful experience and whether people feel comfortable and connected within it. When design feels honest and intuitive, I know it is successful.

A design process could continue endlessly if you allow it to. Designers naturally want to refine and improve continuously. However, there comes a point where the design phase must conclude so implementation can begin. I believe successful projects require balance between creativity and execution. Knowing when to stop refining and move forward is often what determines the final success of a project.

Rather than defining one project as the biggest, I see some works as particularly transformative experiences. International projects such as embassy buildings and large-scale residential developments were especially meaningful because they combined cultural, technical, and emotional complexity. Projects like these challenge not only design skills but also communication, coordination, and leadership.

My favorite architect is Frank Gehry. I admire his sculptural understanding of form and his ability to blur the boundaries between architecture and art. What inspires me most is the way his work creates movement and emotion rather than simply creating buildings. As someone who is also interested in sculpture, I appreciate how his projects feel expressive, bold, and experiential while still creating memorable spatial experiences.

Living in Istanbul creates a unique perspective because it is a city where many cultures, histories, and rhythms coexist. Travel is also an essential part of my life and creative process. I believe culture continuously influences design because it shapes memory, perception, and ways of living. Music, art, cities, and human interactions all become subtle layers within my work.

At Tasarimhane, we see design as a collaborative and interdisciplinary process. We value curiosity, trust, openness, and respect for different perspectives. Our philosophy is based on creating spaces that are timeless, meaningful, and deeply connected to human experience. We believe good design emerges from dialogue and careful listening.

I believe contributing to society is part of the responsibility of being a designer. Teaching has become one of the most meaningful ways for me to share experience and knowledge with younger generations. I value mentorship, educational exchange, and creating opportunities for learning. Design should contribute not only to projects but also to people and communities.

Design awards create opportunities beyond recognition. They connect designers from different cultures, create international visibility, and encourage critical reflection on our work. Participating in design competitions also motivates designers to refine ideas and communicate them more clearly. Being recognized in an international platform such as the A’ Design Award is meaningful because it creates dialogue and expands opportunities for future collaborations.

Veil House was conceived around the idea of balancing openness and privacy within a contemporary living environment. The project explores how layered light, filtered transparency, and spatial continuity can create calm and emotionally engaging experiences. Rather than relying on excessive gestures, the design focuses on subtle transitions, natural materials, and carefully controlled atmospheres that allow the space to feel both refined and deeply livable.

The main focus was creating a timeless interior experience where comfort, atmosphere, and functionality coexist naturally. The intention was to design a residence that feels quiet and immersive while maintaining strong spatial fluidity and openness. Material continuity, daylight movement, and carefully integrated systems were all considered essential in achieving a cohesive and balanced living environment.

Veil House represents an ongoing exploration of emotionally driven contemporary living spaces. The project will continue informing future residential works that prioritize atmosphere, human experience, and understated elegance. The broader intention is to further develop design approaches that integrate technology, comfort, and spatial calmness without visual excess.

The conceptual and design development process evolved over several months through continuous refinement, spatial studies, and material research. Particular attention was given to proportion, lighting scenarios, circulation, and the relationship between openness and intimacy within the interior environment.

The project was developed as a commissioned residential interior, shaped by both functional requirements and a broader design vision focused on calmness, spatial clarity, and timelessness. Beyond practical needs, the design became an exploration of how contemporary interiors can feel emotionally balanced while remaining elegant, highly functional, and connected to everyday life.

Veil House is a realized residential interior project developed specifically for private use. The project was designed and managed by Tasarimhane through a comprehensive interior architecture process that included concept development, spatial planning, material selection, and implementation coordination.

Residential interiors offer a unique opportunity to shape everyday emotional experiences through space. Veil House was especially meaningful because it allowed a detailed exploration of atmosphere, materiality, light, and spatial rhythm within contemporary living. The project became an opportunity to create a refined environment that feels calm, immersive, and deeply personal.

Rather than referencing a single project or designer, the work was influenced by contemporary approaches that value atmosphere, proportion, material honesty, and emotional experience. The project also reflects an interest in sculptural spatial composition, filtered light, and timeless architectural simplicity.

Veil House was designed for individuals who value calmness, spatial clarity, refined materiality, and understated luxury within contemporary living environments. The project appeals to users seeking emotionally balanced spaces that combine comfort, elegance, and functionality without visual excess.

What distinguishes Veil House is its restrained and layered approach to luxury. Instead of relying on decorative intensity, the project creates atmosphere through controlled light, filtered transparency, natural textures, and spatial continuity. Integrated systems and technical solutions remain intentionally discreet, allowing the emotional and sensory qualities of the space to become the primary experience.

The name “Veil House” emerged from the project’s relationship with layered transparency, filtered light, and spatial softness. The concept of a veil represents subtle separation rather than complete enclosure. Throughout the project, materials, lighting, and spatial transitions create moments of partial concealment and gradual revelation, allowing the house to feel both open and intimate at the same time.

The project combined both traditional and digital design methods throughout the process. Concept sketches, material studies, BIM workflows, technical documentation, and visualization tools were all used to develop and coordinate the design. Physical material evaluation and lighting studies also played an important role in shaping the final atmosphere of the project.

One of the most distinctive aspects of Veil House is the way atmosphere is created through subtle spatial layering rather than visual excess. The project uses filtered transparency, natural textures, carefully balanced proportions, and controlled lighting to create an immersive yet restrained living experience. The result is a space that feels calm, cohesive, and emotionally refined.

The project was developed through collaboration with a multidisciplinary team that included technical consultants, implementation teams, craftsmen, and specialized suppliers. Coordination between design intent and technical execution was particularly important to ensure that details, materials, lighting integration, and concealed systems were realized with precision.

Technology plays a discreet but essential role within Veil House. Automated lighting scenarios, climate systems, and integrated technical infrastructure support comfort, energy efficiency, and everyday usability without visually dominating the space. The intention was to allow technology to enhance the living experience quietly and seamlessly.

The project was informed by both analytical and experiential research. Spatial behavior, circulation patterns, lighting conditions, material performance, and ergonomic considerations were carefully evaluated throughout the design process. Equally important was researching how atmosphere, proportion, and sensory perception influence emotional comfort within contemporary residential environments.

One of the primary challenges was maintaining spatial calmness and visual clarity while integrating highly detailed technical systems and functional requirements. Achieving balance between openness and privacy also required careful coordination of circulation, transparency, lighting, and material transitions. The project demanded precision in both design thinking and execution.

Veil House was developed with a strong conceptual and experiential foundation, and submitting it to an international design platform felt like a natural opportunity to share the project within a broader global design dialogue. International competitions also provide valuable visibility and create opportunities for cultural and professional exchange.

The project reinforced the importance of restraint and clarity within contemporary interiors. Throughout the process, I further explored how subtle interventions, carefully controlled atmospheres, and integrated systems can create emotionally powerful experiences without relying on visual excess. It also strengthened the relationship between technical precision and emotional quality in my design approach.

Veil House represents an ongoing exploration of timeless contemporary living shaped through atmosphere, proportion, and emotional balance. Rather than pursuing temporary trends, the project focuses on creating spaces that remain calm, human-centered, and experientially meaningful over time. The intention was to design an environment that quietly enriches everyday life through clarity, comfort, and spatial harmony.

I graduated from Bilkent University, Department of Interior Architecture and Environmental Design, and later completed my master's degree in Interior Architecture at Haliç University. My professional journey began in Ankara at Şevki Vanlı Architecture, where I was introduced to architectural discipline and the relationship between ideas and built reality. In 2011, I co-founded Tasarimhane in Istanbul and have since worked on residential, hospitality, diplomatic, and international projects across different countries and cultures. Alongside professional practice, I currently teach Professional Practice and Ethics at Bahçeşehir University. Looking back, education gave me structure, but experience taught me how to listen, observe, and understand people through design.

I have always been fascinated by the invisible relationship between people and space. Certain places can calm us, inspire us, or completely change how we feel. I became a designer because I wanted to understand and shape those experiences. Design for me is not simply creating beautiful objects or interiors; it is creating emotional and human connections. Curiosity has always been my strongest motivation.

I chose design, but in many ways I feel design also chose me. Looking back, I realize I was naturally observing spaces, proportions, materials, and environments long before I consciously understood what design meant. Becoming a designer felt less like a decision and more like finding the language that already matched how I was seeing the world.

I design spaces that seek balance between atmosphere, function, and human experience. Throughout my career I have worked on residential, hospitality, diplomatic, and international projects. Moving forward, I would love to create more interdisciplinary environments where architecture, art, public interaction, and cultural experience intersect.

Remain curious and develop your own voice. Travel as much as possible and build meaningful relationships. Different cultures and places expand your perspective in ways no classroom can fully teach. Design education happens not only through institutions but also through people, experiences, and observation. Most importantly, do not chase trends; chase understanding.

A good designer can solve problems effectively. A great designer understands people deeply. Beyond technical skill and aesthetics, I believe empathy, observation, and the ability to create meaningful experiences are what make the difference.

Good design creates harmony between function, emotion, and identity. A really good design feels natural and effortless even when it results from a highly complex process. I often ask whether a design creates a lasting experience and whether it feels honest and coherent.

Good design improves everyday life in ways that are often invisible. It affects comfort, behavior, emotion, productivity, and memory. People sometimes see design as a luxury, but I believe it is a long-term investment in quality of life.

I would love to create spaces dedicated to emotional and cultural exchange. Places where architecture, education, art, and human interaction come together. I am interested in designing environments that encourage people to connect, reflect, and share experiences.

One of my dream projects would be creating a large-scale cultural destination that combines architecture, sculpture, landscape, and public participation. A place where people would not only visit but actively experience and become part of the space itself.

I do not believe there is a single formula for success, but if I had to identify one ingredient, it would be curiosity. Curiosity keeps you learning, observing, and evolving. I also believe consistency and discipline matter just as much as creativity. Inspiration may begin a project, but commitment and persistence are what transform ideas into reality.

Frank Gehry has always been one of the designers I admire most. I appreciate his sculptural understanding of form and the way he blurs the boundaries between architecture and art. I am also inspired by designers and artists who create emotional experiences rather than simply producing objects or buildings.

I am often drawn to works that create strong emotional and spatial experiences. I admire projects that feel timeless and expressive at the same time. Rather than individual objects, I am fascinated by environments where architecture, light, materiality, and movement work together to create atmosphere.

Rather than defining one project as my greatest work, I see some projects as transformative moments in my journey. International projects such as diplomatic buildings and large-scale residential developments were especially meaningful because they challenged not only design thinking but also communication, leadership, and cultural understanding. The projects I value most are often those that changed me as much as I shaped them.

I believe observation is one of the most important skills for designers. I constantly travel, visit cities, museums, libraries, and exhibitions, and expose myself to different experiences. Learning should never stop. I also believe designers grow through conversations, collaborations, and stepping outside familiar environments.

I would most likely have pursued something related to art or education. Sculpture has always interested me because it allows ideas to become physical experiences. Teaching is another important part of my life because I enjoy sharing knowledge and engaging with younger generations.

For me, design is a universal language that transforms ideas into experiences and spaces into stories. It is not only about solving practical problems but also about creating meaningful connections between people and their environments. Design should create a quiet impact through clarity, elegance, and intention.

No creative journey happens alone. I have been fortunate to learn from teachers, mentors, colleagues, clients, and collaborators throughout different stages of my career. I also deeply value the support of my family and the people who believed in my work and encouraged me to continue growing.

Experience across different cultures and projects played a major role. Working in different countries taught me adaptability and expanded my understanding of people and environments. Equally important was remaining curious and open to learning throughout every stage of my career.

Every designer faces moments of uncertainty and challenge. One of the biggest difficulties was balancing creativity with technical, financial, and practical realities. There were also moments where patience was necessary because meaningful work takes time. Looking back, many challenges eventually became valuable lessons.

Design presentation should tell a story rather than simply display images. People should understand not only what was designed, but also why it was designed and what kind of experience it creates. I believe presentations should communicate emotions, ideas, and processes as much as final outcomes.

I am currently continuing projects at different scales while exploring new relationships between technology, atmosphere, and human experience. I am particularly interested in projects that create calm and timeless environments while responding to contemporary ways of living. I also hope to further connect education, research, and professional practice.

My goal is not simply to create buildings or interiors, but to create meaningful experiences that become part of people's lives. I would like my work to be remembered for its emotional quality and for creating environments that quietly improve everyday life.

I think people expect honesty, vision, and responsibility. Beyond creativity, designers are expected to listen carefully and understand both practical needs and emotional aspirations. Design is ultimately about trust.

Design influences how people live, interact, work, and feel. Better spaces can improve well-being, create stronger communities, and contribute positively to everyday life. I believe design carries a social responsibility beyond aesthetics.

I am currently working on several residential and interior projects that explore the relationship between light, materiality, technology, and emotional experience. I am particularly excited by projects where design creates atmosphere through subtle interventions rather than dramatic gestures.

Projects that involve strong human stories often create the deepest satisfaction. Some of my most meaningful experiences came from diplomatic and international projects, while others involved individuals creating their first homes or imagining spaces for entirely new chapters in life. Each project carries its own emotional journey.

I would like to see greater emphasis on human experience rather than visual speed and short-term trends. The profession increasingly moves quickly, and sometimes depth can be lost. I hope future design culture values research, sustainability, and meaningful experiences more strongly.

Design is becoming increasingly interdisciplinary. Technology, artificial intelligence, sustainability, and human-centered thinking are reshaping the profession. I believe future design will move toward creating adaptable experiences and environments rather than fixed objects.

The timeline always changes depending on the scale and complexity of the project. Design can continue endlessly if we allow it to. Designers naturally want to refine and improve continuously, but there comes a point where the design process must conclude so implementation can begin. Knowing when to continue and when to move forward is often what determines success.

I always begin by listening and observing. Before thinking about form, materials, or aesthetics, I try to understand the people, emotions, and experiences behind the project. I also create a specific environment for myself that resonates with the spirit of the project. Sometimes it can be another city or country, and sometimes simply a library, café, or museum. I believe each project has its own atmosphere, and I try to begin the design process in a setting that reflects its character.

My belief is simple: design should remain honest. Trends change, technologies evolve, but authenticity and clarity remain timeless. The strongest spaces often speak quietly yet leave lasting impressions.

I believe meaningful design creates trends rather than follows them. Trends often reflect temporary moments, while strong design responds to deeper human needs and experiences. Truly influential work often becomes timeless because it goes beyond trends.

Technology is an important tool, but never the starting point. I see technology as something that should quietly support experience rather than dominate it. When used thoughtfully, it can improve comfort, sustainability, efficiency, and the way people interact with spaces.

My process combines both traditional and digital tools. Sketches, BIM workflows, visualization platforms, and technical documentation are all part of my work. Equally important are books, travel, artistic references, and observation. I believe creativity is shaped not only by software but also by experiences.

Color, materials, and atmosphere are fundamental because they shape emotional experience. Materials communicate memory and texture; color influences perception and mood. Together they create the invisible emotional layer of a project.

I would love people to ask not only what they see, but what they feel. I am interested in conversations about atmosphere, experience, and emotional connection because design goes far beyond visual appearance.

My first reaction is curiosity. I immediately begin asking questions: Why does it feel powerful? What creates its emotional impact? What kind of thinking or process shaped it? Great design always makes me want to understand more.

I strongly believe in collaboration. Design becomes richer when different disciplines and perspectives come together. My ideal design partner would be someone curious, open-minded, and willing to challenge assumptions. Co-design creates conversations that often lead to unexpected discoveries.

Many people influenced my journey in different ways: teachers, mentors, colleagues, clients, and collaborators. Early in my career, working within strong architectural environments taught me discipline and critical thinking. Over time, interactions across different cultures and countries expanded my understanding of people and space.

Rather than a single book, I have always been influenced by books that explore the relationship between people, perception, art, and space. Architecture, philosophy, phenomenology, and art theory have all shaped my thinking. I am particularly interested in works that question how environments influence emotions and human experience, because design for me begins with understanding people before creating spaces.

I developed my skills through a combination of education, professional experience, travel, and continuous observation. Working across different countries and cultures expanded my perspective significantly. I also believe growth comes from remaining a student throughout life. Curiosity and learning should never stop.

I would love to meet Frank Gehry. Beyond his architecture, I admire the sculptural quality of his work and the way he transformed form into experience. As someone who is also interested in sculpture, I would be fascinated to discuss the relationship between architecture, movement, and artistic expression with him.

Recognition is meaningful because it creates opportunities for dialogue and connection. Awards are valuable not only as achievements but also because they create visibility and encourage reflection. I do not see recognition as a destination; I see it as motivation to continue learning and evolving.

I tend to gravitate toward natural and timeless things. I appreciate neutral and earthy tones because they create calmness and depth. My favorite places are often cities layered with history and culture. I enjoy experiences more than objects; meaningful conversations, books, travel, and discovering new places are among the things I value most.

Design sometimes creates unexpected situations. I remember moments where clients confidently requested dramatic changes, only to later realize the original idea had been the right solution all along. Design teaches patience and flexibility, and occasionally it also teaches humor.

I begin each day very early and enjoy starting with quiet moments. Listening to birds and sounds from nature while having breakfast creates clarity before the pace of the day begins. I am motivated by curiosity. New places, conversations, projects, and experiences continuously create inspiration.

Looking back, I realize I was always observing spaces and details differently. I paid attention to environments, proportions, and atmospheres even before understanding what design meant. At the time I did not know I would become a designer, but I think curiosity was always there.

Humanity will continue evolving through technology, but I believe fundamental human needs will remain unchanged. Even in a thousand years, people will still seek belonging, beauty, connection, and emotional experiences. Technology may transform environments, but human experience will remain at the center.

I believe design is a continuous journey of learning and discovery. Beyond projects and spaces, I remain interested in people, stories, and experiences. I hope my work creates quiet but meaningful impacts and reminds people that design is ultimately about creating better ways of living.

I graduated from Bilkent University, Department of Interior Architecture and Environmental Design, and later completed my master's degree in Interior Architecture at Haliç University. My professional journey began in Ankara with Şevki Vanlı Architecture, where I gained early exposure to architectural discipline and spatial thinking. Since co-founding Tasarimhane in 2011, I have led residential, diplomatic, and international projects across different countries and scales. I currently also teach Professional Practice and Ethics at Bahçeşehir University. Design has always felt like a natural path because I have long been fascinated by how spaces influence emotions and human experience.

Founded in 2011 in Istanbul's historic Galata district, Tasarimhane is an interior architecture and design studio working across residential, hospitality, diplomatic, and international projects. The studio develops projects from concept to implementation, integrating design research, material exploration, technical precision, and project management. Our approach aims to create spaces that balance functionality, atmosphere, and timeless values.

For me, design is a universal language that transforms ideas into experiences and spaces into stories. It is not only about solving practical problems but also about creating meaningful connections between people and their environments. I believe design should create a quiet impact through clarity, elegance, and intention.

I particularly enjoy residential and hospitality projects because they are closely connected to emotions, rituals, and everyday life. I am also drawn to international and culturally layered projects where design becomes a bridge between different identities and experiences.

Rather than a single object, I am most interested in spaces that create emotional experiences. Veil House is among my favorite projects because it explores the relationship between privacy and openness through light, materials, and spatial continuity.

One of my earliest professional experiences involved interior projects where creativity had to coexist with technical and construction realities. It taught me that design succeeds through collaboration, precision, and responsibility.

I enjoy working with natural materials such as stone, wood, and glass because they create atmosphere and age beautifully over time. I am also interested in integrated lighting systems and technologies that enhance comfort while remaining visually discreet.

I feel most creative during quiet moments, especially early in the morning or while traveling. Observing cities, architecture, and daily life often creates unexpected ideas and inspirations.

I focus strongly on spatial experience, proportion, light, and material relationships. Details become meaningful when they contribute to a larger atmosphere.

Designing is both exciting and reflective. It is a process of curiosity and exploration where ideas gradually become tangible experiences.

Seeing a design become reality is deeply rewarding. It is always meaningful to witness an idea transform into a space that becomes part of people's lives.

Seeing a design become reality is deeply rewarding. It is always meaningful to witness an idea transform into a space that becomes part of people's lives.

I first look at clarity, proportion, and authenticity. A successful design should feel natural and coherent rather than forced.

Designers have responsibilities beyond aesthetics. Design shapes human experiences and should create sustainable, meaningful, and socially responsible environments.

Design is becoming increasingly interdisciplinary. Technology, sustainability, and human-centered thinking are transforming the profession. I believe future design will focus on experiences as much as objects.

I see exhibitions as opportunities for dialogue and cultural exchange. I hope future exhibitions will explore the relationship between space, memory, materiality, and human experience.

Travel, architecture, art, cities, sculpture, and everyday observations continuously feed my creativity. I am especially interested in light, cultural memory, and atmosphere.

I would describe my approach as contemporary, refined, and quietly expressive. I prefer spaces that communicate through atmosphere rather than excess.

Living in Istanbul creates a unique perspective because the city carries many cultural layers simultaneously. This richness continuously influences my approach toward design.

We approach collaborations as creative partnerships. We begin by understanding identity, goals, and needs, then translate them into a clear spatial narrative.

Companies should choose designers not only for visual style but also for their ability to understand needs and create meaningful long-term solutions.

The process begins with observation and listening. Research, sketches, material studies, and spatial analysis gradually evolve into concepts and technical development.

Books, sculptural objects, lighting pieces, handmade ceramics, and art works.

No two days are ever the same, and I can honestly say I begin each day with enthusiasm. I wake up very early, usually around five in the morning, and start the day with a good breakfast while listening to birdsong and sounds from nature. That quiet time creates a sense of clarity before the pace of the day begins. My schedule constantly shifts between teaching, project meetings, design reviews, research, and creative exploration. Travel is also an important part of my professional life; sometimes consecutive days can take me to different cities or even different countries. I enjoy this rhythm because every new place, conversation, and experience becomes part of the creative process.

Remain curious and develop your own voice. Trends change quickly, but observation, authenticity, and discipline remain timeless. I would also encourage young designers to travel as much as possible and build meaningful networks. Experiencing different cultures, cities, and ways of living expands perspective in ways that no classroom can fully provide. Strong connections and professional relationships can later transform opportunities into collaborations. Design education does not happen only through institutions; it also happens through people, places, and experiences.

One of the most rewarding aspects of being a designer is the ability to transform ideas into spaces and experiences that become part of people's lives. At the same time, one of the challenges is what I would call a kind of professional deformation. Designers gradually begin to see the world through details, proportions, materials, and imperfections. Over time, this heightened awareness can make you increasingly meticulous and demanding, both professionally and personally. However, I believe this sensitivity is also what allows designers to create thoughtful and meaningful work.

Design should remain honest. The strongest spaces often speak quietly yet leave lasting impressions.

Curiosity, observation, communication, empathy, technical knowledge, and adaptability.

My toolbox combines both traditional and digital methods: sketches, BIM workflows, visualization tools, technical documentation, books, travel, and artistic references all play important roles in my process. Beyond software and technical tools, I also create a specific environment for each new project. I often choose a place that feels aligned with the spirit of the design I am developing; it could be in another city or even another country, or sometimes simply a library, café, or museum. I try to spend part of the design process there because every project has its own atmosphere, and I believe the creative environment should resonate with the character of the work itself.

Time management is essential in design because the process can continue endlessly if you allow it to. As designers, we naturally tend to refine, rethink, and improve ideas continuously. However, there comes a point where the design phase must reach a clear conclusion so that the implementation process can begin. Successful projects require a careful balance between creativity and execution. I believe knowing when to continue developing an idea and when to move forward is just as important as the design itself. That balance is often what determines the success of the final outcome.

The timeline varies according to scale and complexity. Design evolves through research, iteration, and refinement.

People often ask whether a space can be both functional and emotional. I believe successful design always combines both.

International projects across different countries significantly expanded my understanding of design and culture.

Over the years, I have had the opportunity to work with a remarkably diverse range of clients. At times, my clients have included governments, diplomatic institutions, and state representatives; at other times, young entrepreneurs taking their first steps into professional life, individuals building their very first home, or families creating what they imagine to be their final home. I have worked with private villa owners, international investors, and clients seeking creative environments such as exhibition spaces in different parts of the world. What I enjoy most is this diversity, because every client brings a different story, perspective, and way of living, making each project a unique journey.

I do not necessarily separate projects by categories such as residential, hospitality, healthcare, or commercial design. For me, what truly defines the experience is the level of trust, vision, and possibility within the project itself. In reality, design often works within constraints such as budgets, regulations, technical requirements, and limitations. Some of the most enjoyable projects I have experienced were those where clients believed in the design process and created the opportunity to explore ideas more freely. When there is a strong vision, mutual trust, and the ability to realize ideas without excessive limitations, the design process becomes much more inspiring and rewarding.

I aim to continue international projects while strengthening interdisciplinary collaborations between practice, education, and research.

Design is collaborative. While I lead conceptual direction, successful outcomes emerge through interdisciplinary teamwork.

We are currently developing residential and interior projects exploring materiality, technology, and contemporary living experiences.

People can contact me and our studio through Tasarimhane's official communication channels.

I believe design is not only about creating spaces but also about creating experiences, dialogue, and cultural connections. I continue to see design as an evolving journey of learning and discovery.