Interviews mit Serdar Ekİzer

As a designer, my experiences do not follow a single, fixed path; instead, they evolve, change, and develop with each project. For this reason, I see design not as finished knowledge, but as a continuous field of learning and experience.

Each project has given me a different perspective, because every design has its own problem, context, and user need. Therefore, no project is a repetition of the previous one; each requires a different way of thinking. Over time, I have realized that true development in design comes precisely from these differences.

Since childhood, I had been deeply involved in drawing and painting. I used to create charcoal sketches and oil paintings. However, the works I produced remained only as paintings on canvas and did not provide any real benefit to people.During my high school years at a science high school, I was introduced to various fields of science, which sparked a great excitement in me about becoming a scientist and inventing new things. Yet, I could never completely detach myself from art.

In the middle of my high school years, I read an article about architecture. It explained that architecture is a profession that combines both art and technical disciplines, allowing people to create new things and contribute to humanity. I realized that architecture was exactly what I had been searching for, as described in that article, and I decided to become an architect.

When designing, my priority is always to accurately analyze users’ needs and ensure that the design establishes a strong relationship with its surrounding environment. I believe that functionality is just as important as aesthetics.

I usually begin the design process with sketches, freely developing my ideas on paper first. Later, I refine the project through technical analyses and detailed planning. In terms of style, I value spaces that are simple, balanced, timeless, and psychologically comforting for people. At the same time, I believe that a design should have an innovative language that reflects the spirit of its own era.

I truly enjoy the process of designing. Identifying design data and understanding design problems, then going through the intense “dark room” process that takes place in the mind, is both very challenging and incredibly exciting for me.

I see it as a process filled with enthusiasm and passion. The moment when the design begins to take shape and the solution finally emerges brings a great sense of emotional excitement and fulfillment. I believe this is the moment that makes a designer happiest.

As I mentioned before, my interest in painting and art, along with my desire to create new things, has shaped me into the designer I am today.

Throughout my professional career, I strive to continuously improve myself, work on projects at different scales, and further develop my design approach. In the future, I would like to take part in larger-scale, international projects that contribute to urban identity. My dream is to design iconic structures that will be remembered for many years and add value to people’s lives.

At the same time, I aim to create spaces that not only respond to aesthetic and functional needs, but also establish an emotional connection with people, positively influence the experience of everyday life, and add value to their surroundings. I believe that architecture is a powerful field that shapes the way people live, feel, and interact with their environment, and I want my designs to make meaningful contributions to this relationship.

My most important advice to young designers is to observe carefully and keep creating continuously. To become a good designer, one should pay close attention to art, history, cities, human behavior, and nature. It is also important to be patient, because good design is a process that takes time. They should never lose the habit of sketching and should have the courage to think originally and creatively.

In addition, I believe that drawing inspiration from different disciplines is one of the most important factors that helps a designer grow. Experiences such as music, cinema, literature, and travel broaden a designer’s perspective and strengthen creative thinking skills. I also think young designers should not be afraid of making mistakes, because very often the best ideas emerge during the process of experimentation.

I believe we should never forget that design is not only an aesthetic pursuit, but also a great responsibility that touches people’s lives. A designer should always remain open to learning. Trying to understand the world, cities, people, and different cultures helps a designer grow and improve. I also believe in the importance of teamwork; successful projects are often the result of collective thinking and strong communication. Most importantly, designers should never lose their excitement and passion for design.

I like starting the day early in the morning. While sipping my tea or coffee, beginning my work with design ideas and sketches is one of the most important routines that increases my motivation throughout the day.

I don’t think it is the right approach to either completely ignore design trends or follow them blindly. I prefer to maintain my own design language while using current trends only as a “reference.” Trends are not an obligation that determines a designer’s direction; they are simply a tool for understanding where contemporary production in the world is heading. My greatest sources of inspiration have always been daily life, the city, human behavior, and nature.

For me, good design is the balanced and consistent combination of aesthetics, functionality, and user experience. When evaluating a project, I first look at whether it truly serves its purpose, whether it guides the user correctly, and whether it leaves a feeling or an impact on the user.

Good design does not necessarily have to be eye-catching or extravagant; in fact, it often draws its strength from simplicity. It is built upon a clear idea, free from unnecessary details, and makes the user’s experience easier. At the same time, it should be in harmony with its environment and become a part of it without losing its connection to the context.

It is actually quite difficult to say that a design is completely finished, because design, by its nature, is always an open-ended process that can continue to evolve. However, a project can be considered complete when it reaches a level of maturity where user needs are met, technical solutions are resolved, and the design idea expresses itself clearly. In this process, factors such as time, budget, and implementation conditions also play a decisive role. For me, what matters most is that the design has established its own sense of integrity and coherence.

Rather than defining my greatest design work through a single project, I can say that all the design processes I have developed across different scales and various challenges have collectively shaped me as a designer.

For me, the “greatest work” is the continuous effort to analyze design problems, produce original solutions to them, and reach a more advanced level with each new project compared to the previous experience. Therefore, my greatest design work is not a specific project, but the entire process of learning, creating, and improving that I have pursued throughout my journey so far.

I can say that I have a calm, consistent, and balanced lifestyle. I believe this lifestyle and cultural background have shaped my perspective on design. I think that the abundance of challenges and constraints that need to be resolved in design actually makes the outcome stronger and motivates me even more.

At the core of my work culture are discipline, consistency, and respect for teamwork. I see the design process not as an individual act of production, but as a collective space for thinking. For this reason, listening to ideas from different disciplines and creating a common language are very valuable to me.

My work philosophy is based on the idea of “understanding the problem correctly before trying to solve it.” Before starting a design, I try to understand what that design truly needs. Because a problem that is not properly defined will remain incomplete, no matter how well it is solved.

I also believe in a process-oriented way of working. The process itself is just as important as the final result. The stages of development, the maturation of ideas, and every revision made along the way are as valuable as the final product itself. That is why I embrace a working approach that is patient, research-driven, and always open to continuous learning.

I already see design itself as a field of contribution to society. Because every well-designed space directly improves people’s quality of life. In this sense, every project that is produced becomes, indirectly, a contribution to society.

In addition, I find it important to share knowledge with young designers and students, to pass on my experiences, and to try to be a guiding influence. I believe that design is not only an individual achievement, but also a shared field of knowledge.

I believe that participating in design competitions offers designers the opportunity to test and evaluate themselves on an international platform. At the same time, encountering projects from different cultures is a very valuable experience that broadens one’s perspective and improves their design approach.

Another important contribution of these competitions, in my opinion, is that they increase the visibility of one’s work and provide the opportunity to receive professional feedback. This feedback allows designers to view their own work from an external perspective.

The project redefines residential development as a self sustaining urban ecosystem rather than a mere housing compound. Structured as a mini city, the master plan frames sustainability through both continuous green landscapes and a mixed use program that fulfills daily needs on site. Guided by horizontal architecture and informed by topography, the stepped massing generates a fragmented human scale skyline. Residential, commercial, hotel and nursery functions integrate within a fluid spatial system, forming a permeable and continuous urban morphology.

Sustainability constitutes the theoretical point of departure rather than a formal outcome of the project. Situated in a context with limited access to social amenities, the development is conceived as an urban system capable of spatially producing everyday life within its own boundaries. The mini city model aims to generate urban resilience through programmatic density and functional diversity. Residential, commercial, hotel and nursery functions are organized not as fragmented structures but as interdependent components of an integrated framework. This approach defines sustainability in environmental, social and operational terms.

The design focuses on incorporating a rich functional diversity. It aims to unify residential, commercial, hotel, and daycare programs into an integrated, symbiotic network rather than isolated structures. Embracing a horizontal architectural typology, the masses cascade in response to the topography, creating a fragmented silhouette calibrated to the human scale. Additionally, the configuration ensures that every residential unit maintains a direct physical and visual dialogue with the internal gardens and landscape.

We aim for the design to represent the contemporary architectural identity of Konya on international platforms and within prestigious award programs.

Although it originated as a commission, inspiration was inherently embedded within this brief. The inspiration we pursued was not merely to provide or design housing for people, but rather to construct a living space and curate a distinct lifestyle for them.

The specific location of the project and its current contextual condition, which offers limited access to social amenities, directly prompted the design of this urban model. By converting these seemingly disadvantageous conditions into design potentials, the project excited us by proposing a holistic living environment, a framework for everyday practices, and a distinct spatial scenario. Ultimately, the desire to operate within this composition of daily life encounters and spatial narratives became the core catalyst for designing this work.

The project features a mixed-use programmatic structure tailored for residential users, public visitors of commercial units, hotel guests, and families in need of daycare services. Within the Inventum project, residents do not merely occupy a space; they experience environments within their own curated habitat, living inside a concept where their diverse spatial needs are inherently fulfilled.

The project distinguishes itself from counterpart concepts by defining sustainability not merely within the structural context, but through social, cultural, and everyday experiences, as well as continuity. Furthermore, the design diverges from conventional typologies by dissolving functions within a holistic and permeable urban morphology, rather than in fragmented structures. It establishes a distinct spatial hierarchy defined by three successive boundaries transitioning from public to private zones: the commercial axis, semi-private social areas, and private residential domains.

In addition to utilizing advanced 2D and 3D software tools standard within our practice, the design process was extensively supported by hand sketches and physical working models.

One of the qualifying attributes of the design is the configuration of its spatial organization through three successive layers or thresholds that progress seamlessly from public to private. At the intersection of the residential and commercial zones, a semi-private square—functioning as a threshold space—is defined across the basement and ground levels to articulate pedestrian circulation. Furthermore, the settlement is organized entirely around internal courtyards, ensuring that all residential units establish a direct physical and visual dialogue with the landscape.

The project has been matured through the collaborative efforts of a multidisciplinary network of experts:

"We resolved to project the Inventum design as a manifesto within the international architectural discourse, demonstrating that it transcends the boundaries of a local residential development. By curating a self-contained living ecosystem and crafting intentional everyday life scenarios, the project declares that the future direction of design must center on human experiences and the subtle nuances of daily encounters.

The source of inspiration for the design is the traditional Turkish house, which is an integral part of Anatolia’s cultural heritage. Within the context of the Turkish house, the settlement layout is shaped according to the slope of the topography. As a core principle, rather than viewing the steep slope of the terrain as a constraint, it was embraced as a generative space (sectional strategy) that guides the design. Modular and rhythmic lines characteristic of the Turkish house, along with distinctive elements such as bay windows (cumbas) and wide eaves, have been reinterpreted within the framework of contemporary design principles.

The primary focal point of the design was to integrate a high-density residential program into the site by establishing a seamless connection with the natural environment, without overwhelming Konya’s urban skyline. The design aimed to prevent the visual discomfort that a uniform, monotonous, and high-rise perception of up to 15 stories from the entrance level could inflict upon the city's silhouette. By positioning the blocks at varying elevations within the cross-sectional plane and repeating the facade elements every two floors, the objective was to reduce the visual scale and convey the perception of low-rise structures.

We aim for the design to represent Konya’s contemporary architectural identity on international platforms and in prestigious award programs.

The project process is the product of a long-term and meticulous urban-architectural study. According to our documents, the initial concept and design phase of the project began in 2013. Following the preparation for construction and the maturation of the working drawings, the construction phase commenced in 2017. The implementation and execution processes then continued through 2024.

This project was commissioned by our client, Kobisan K.Y.K., and developed in accordance with a tailored design brief. Nevertheless, the design itself was truly shaped by our architectural team’s professional passion and the creative inspiration drawn from the site’s dramatic topography and its expansive city panorama.

The strategic location of the site at the intersection of the central districts of Selçuklu and Meram, along with its elevation of approximately 60 meters above city level, inspired us to create a symbolic work on this scale. Since the project site occupies a unique position overlooking both the serene green fabric of Meram on one side and the dynamic urban energy of Selçuklu on the other, a need arose to design a living space that is monumental yet respectful of the environment, harmonizing these two distinct characters.

Rather than being influenced by a particular modern designer, our main guidance came from the settlement morphologies of the traditional Turkish city. The way building masses articulate with one another in a traditional Turkish street, the facade rhythm created by the cumba forms, and the interplay of light and shadow under wide eaves are the very historical references that nourished our contemporary architectural language

The target urban audience comprises individuals seeking spatial comfort and an elevated quality of life—those who desire to live intertwined with nature and vast landscapes while remaining closely tied to the city's central energy. Complemented by the premium-segment 'Yalı' and 'Konak' residences boasting expansive panoramas, the project creates a holistic lifestyle scenario that serves both site residents and the broader urban community through integrated commercial spaces and a kindergarten.

The project’s most defining feature lies in the seamless concealment of its massive underground parking and infrastructure within the site's steep topography. The four-story terraced parking structure integrates with the slope, offering direct, at-grade access to each level from the rear ring road. Consequently, unlike conventional developments, the ground level is completely pedestrianized and freed from vehicular circulation, creating a continuous 1.5 km green axis dedicated to walking, running, and cycling

The project's name stems from the integration of the client and investor's identity, 'Kobisan', with its primary architectural function, 'Konutları / Residences'. This nomenclature was preferred to elevate the investor's corporate identity into a distinguished brand value at an urban scale.

The project was developed utilizing advanced architectural design methodologies throughout its production phases: comprehensive cross-sectional and longitudinal analyses were carried out to accurately map and respond to the terrain. Three-dimensional digital visualization tools and physical architectural models were used to evaluate spatial perception , while solar angle analyses, passive cooling simulations, and wind direction diagrams informed the environmental design

The project thrives on a relationship of spatial continuity that blurs architectural boundaries. Positioned at the very heart of the development , the visual integration of the social facility’s infinity pool with the expansive outdoor lake creates a fluid connection. This key design intervention dissolves rigid physical thresholds, seamlessly merging the water features to present users with an uninterrupted panorama of the city.

The project was brought to fruition through the collaborative effort of a multidisciplinary network of specialists.

Technology plays an active role in the project's passive sustainability and facade performance strategies. The natural oak material (laminated wood) utilized on the facade is technologically protected with UV-resistant, specialized water-based coatings. Furthermore, the linear wooden solar shading louver systems on the facade are integrated with intelligent control mechanisms equipped with automated sun-sensor hardware.

Yes, the design is built entirely upon analytical site and climate data. Research was conducted to adapt to Konya’s harsh continental climate conditions. The orientation of the buildings was decided based on simulation data to maximize solar gain in winter while preventing overheating in summer through wide eaves and automatic panels. In the landscape, indigenous flora species requiring minimal irrigation (xeriscaping) were analyzed and integrated into the habitat.

The primary challenge lay in integrating the cohesive building blocks across a massive construction footprint while preserving the site's volatile topography and minimizing environmental disruption. To achieve a terraced massing organization parallel to the steep contour lines and ensure minimal cut-and-fill operations, we had to work with absolute precision on the sectional plane. This intricate balancing act truly pushed the boundaries of multi-disciplinary engineering and architectural coordination.

We made this decision because we believe that, far from being just a local residential complex, Kobisan Residences can offer a powerful alternative to global discussions on 'Sustainable Urban Design and Quality Housing' through its contemporary reinterpretation of traditional Turkish architectural codes, its innovative approach to topography, and its car-free ground-level organization.

Through this project, we gained a profound understanding of topography as one of the primary 'actors' driving architectural design in large-scale developments. Discovering how a section-driven design methodology can generate human-scaled, micro-public spaces—such as upper and lower plazas and grass amphitheaters—while remaining deeply respectful of the urban skyline even under a dense program, has substantially reshaped and elevated our firm's design practices.

From an early age, I was interested in drawing and visual arts. My charcoal and oil painting works helped me develop visual thinking skills, which form the foundation of design. During high school, studying at a science high school strengthened my analytical thinking and problem-solving approach. Later, I discovered architecture as a field that combines art and science, and I chose to pursue it.

From an early age, I was intensely engaged in visual arts, specifically focusing on charcoal drawing and oil painting. However, I often felt that my artwork remained isolated on canvases, lacking a direct, practical utility for people; I was inherently searching for a pragmatic dimension to coexist with art. Later, studying at a science high school introduced me to various scientific disciplines, which sparked a profound enthusiasm in me to pursue life as a scientist and invent new things. Yet, I remained deeply attached to painting…

Around the middle of my high school years, I came across an article on architecture. It illustrated architecture as a unique discipline that bridges art and technology to innovate and serve humanity. Recognizing that architecture was the exact embodiment of what I had been searching for, I decided to pursue it as my career.

I chose to become a designer entirely of my own will.

The most important thing young designers should do is to produce a lot and observe carefully. Good design is not based on talent alone; it is built through continuous repetition and effort.

It is also very important to draw inspiration from different disciplines—art, psychology, urban planning, and even natural sciences can all help develop a designer’s perspective. Being patient and staying open to criticism are also essential parts of this journey.

Good design, for me, is not a concept that can be confined to a single definition; however, I believe it is fundamentally built upon the balance of three main elements: function, aesthetics, and context. First of all, good design should be a system that works without forcing the user. A space or product should not need to explain itself; the user should be able to interact with it naturally and intuitively. Clarity and fluidity of function are among the most important criteria determining the success of a design. Secondly, aesthetic value does not simply mean “looking beautiful.” Aesthetics is a matter of wholeness related to order, proportion, rhythm, and balance. Good design should evoke a feeling in the user—such as calmness, curiosity, belonging, or excitement. However, this effect should always remain controlled, balanced, and free from exaggeration. The third important element is context. A design cannot be considered independently from where it exists. Climate, culture, urban fabric, history, and user profile are fundamental factors that directly influence design decisions. A design disconnected from its context remains incomplete, no matter how aesthetic it may be.

In short, good design is a simple yet powerful whole—one that serves the user, harmonizes with its environment, maintains aesthetic balance, and is built on a strong underlying idea.

I believe the value of good design comes not only from offering an aesthetic appearance, but from making life more efficient and higher in quality. Good design is something that does not tire the user, responds correctly to needs, and makes everyday life easier.

Investing in good design is therefore a long-term gain. A well-designed space or product creates fewer problems over time, becomes more sustainable, and provides continuous comfort for the user. This creates significant value on both an individual and societal level.

In my opinion, everyone should invest in good design, because design is not a luxury choice but a fundamental need that directly affects quality of life. Good design strengthens the relationship between people and their environment, making life more understandable, organized, and livable.

I don’t believe success comes from a single secret. Rather, it emerges from a combination of fundamental habits and approaches that gain meaning when brought together. Among these, discipline, continuous thinking, careful observation, and persistence are essential.

The design process rarely produces immediate results. On the contrary, it is a way of thinking that requires time, repetition, and gradual refinement. For this reason, patience is crucial. It is important not to rush ideas to completion, but instead to allow them to evolve, and to revisit and reassess them when necessary.

Ultimately, success is not defined by a single “secret,” but by the ability to produce consistently, to remain committed to the process, and to sustain the desire for continuous self-improvement in every project.

I believe that inspiration in design is not tied to a single person; it is a broad field nourished by different periods and approaches. However, in architectural history, figures who stand out with their approach to spatial composition, scale, and simplicity have always been inspiring for me.

In particular, the sense of balance, proportion, and timelessness in the works of Mimar Sinan is one of the important references that has influenced my design approach.

The question of the “best design” is actually a perception that changes over time. Every project gains a different value when evaluated within the conditions, constraints, and learning process of its own period. For this reason, it is difficult for me to define a single project as absolutely “the best.”

What makes a design “great,” for me, depends on a few fundamental aspects. First of all, it needs to have a strong and clear idea. If the thinking behind the design is weak, no matter how good the form may be, it eventually loses its impact over time. Secondly, user experience is extremely important; the space or product should communicate itself naturally and guide the user intuitively.

I believe the path to becoming a better designer lies in continuous observation, producing a lot, and drawing inspiration from different fields. Design is not limited to drawing or technical knowledge; it requires understanding people, life, nature, and the environment. For this reason, interdisciplinary thinking is very important for becoming a good designer.

In my own development process, the most influential practice has been constantly sketching and trying to express my thoughts visually. In addition, observing different cities, studying architectural forms, and staying in continuous contact with art have broadened my perspective.

In short, the most important things for anyone who wants to improve themselves are to keep producing, not lose their sense of curiosity, and see every experience as a learning process.

If I were not a designer, I would prefer to be a painter, a sculptor, or a scientist developing useful models.

For me, design is a process of extracting an aesthetic truth from constrained data and complex challenges. This is why I prefer designing projects that have the highest number of design problems and constraints—in other words, those that are the most difficult to resolve. Rather than intimidating me, topobiographical or topographical difficulties, budget limitations, or functional complexities only motivate me further. Any project, regardless of its scale, is my favorite kind of work if it transforms that initial mental chaos and the intense 'darkroom' process of the mind into a clear, rational, and aesthetic solution, ultimately evolving into a living space that instills peace in its users.

What has developed me the most is the habit of continuous production, being open to criticism, and the process of trying again. I see the design process not just as an act of producing an end result, but as a journey of constant learning and development.

Each new project builds like a layer on top of previous experiences. Because of this, regular production keeps the mind active and strengthens design intuition. Over time, I realized that consistency in making things is one of the most important sources of creativity.

In addition, the critique process has been very valuable for me. In particular, post-project evaluations have helped me see my shortcomings and understand different perspectives. Although it initially seemed challenging, I eventually learned that criticism is an inseparable part of development.

In short, what has developed me the most is continuing to produce, taking feedback into account, and not losing the desire to do better each time.

One of the most important challenges I faced in the design process was finding the balance between idea and execution. While forming an idea in the mind is often easier, transforming it into a technically accurate, functional, and feasible project required time and experience.

In addition, learning to be patient throughout the design process was another important stage. Especially in the early periods, the desire to get quick results sometimes made it difficult to deepen the process. However, over time I came to understand more clearly that design is actually a slow process that requires thinking and maturation.

I believe the way designers present their work is just as important as the design itself. A good design can lose its impact if it is not communicated properly. A presentation should convey the design idea clearly, simply, and understandably to the audience.

First of all, I think unnecessary complexity should be avoided in presentations. Without losing the main idea of the design, the process of how it developed should be explained step by step. Sketches, diagrams, and process visuals are very valuable at this point because they show not only the final outcome but also the way of thinking behind it.In addition, the context and problem of the design must be communicated accurately. What makes a project strong is not only its form, but also the need it responds to. Therefore, the question “why was this design made?” must be clearly answered in the presentation.

Finally, in a good presentation, the designer should trust their idea but avoid exaggeration, using a simple and effective language. The design should speak for itself; the presentation should be a tool that supports it.

I believe every new project is not a continuation of the previous one, but a separate process with its own context and needs. For this reason, the projects I am currently working on are mostly focused on human-centered design and user experience.

In the future, what can be expected from me is not only aesthetic solutions, but also designs that prioritize the user, make life easier, and integrate with their environment.

As a designer, my ultimate goal is not only to produce visually appealing structures or products, but to create works that truly touch people’s lives, improve their daily experiences, and retain their value over time.What makes design meaningful for me is its ability, once it becomes tangible, to directly influence human behavior, spatial perception, and quality of life. For this reason, my aim is to go beyond aesthetics and functionality, and to create lasting works grounded in strong ideas and integrated with their context.

In the long term, I want to produce human-centered, sustainable, and timeless designs at different scales—from architectural buildings to urban projects. At the same time, I see it as an important goal to demonstrate that design is not only a form of individual expression, but also a tool that contributes to society.

In short, my ultimate goal is to leave behind not just structures, but designs that leave a positive impact on people and make life more meaningful.

I believe people expect a designer to produce solutions that put the user at the center and make life easier. For me, design is not only an aesthetic production, but also a tool that makes everyday life more understandable and practical. Therefore, a good design should improve the user experience and make life more fluid.

Design is, in fact, a tool that directly shapes the quality of life in society. A well-designed space makes it easier for people to come together, increases social interaction, and makes daily life more fluid.

I believe the most important contribution of design is its ability to guide invisible behaviors. People often act according to the directions provided by design without even realizing it. For this reason, good design contributes to the creation of a safer, fairer, and more inclusive society.

What excites me most right now is the progression of a project from its initial idea phase toward maturity. I find it especially inspiring to work on design problems that are not yet fully defined but have strong potential. At that stage, every idea is possible, and the direction of the design is shaped entirely by the way of thinking behind it.

I am also always interested in projects that strengthen user experience, support public life, and bring people together. In such projects, design is not only about creating a structure, but also about constructing a way of living.

In short, what excites me most is the process through which an idea evolves from an abstract concept into a real spatial language.

In the coming years, I would like to see design evolve into a more conscious, sustainable, and human-centered discipline. Instead of the pressure for rapid production, I believe it is important to develop a system in which thoughtful and high-quality designs are valued more.

I also find it very valuable to see an increase in approaches that are more respectful to nature, manage resources more responsibly, and produce long-lasting solutions throughout the design process.

I believe design will become much more integrated with technology in the future. Artificial intelligence, digital production techniques, and data-driven design processes will become increasingly widespread. However, despite these developments, the human scale and emotional experience should remain at the center.

In my opinion, the design of the future will be the kind of design that can balance technology with human experience. Not only technically advanced solutions, but also designs that create meaning will stand out.

The duration of a design project varies depending on its scale and complexity. For me, what matters is not the length of time, but whether the process progresses correctly. The maturation of the design, the clarification of ideas, and the proper resolution of details always require time. That is why I can say that every project moves forward in its own rhythm.

When starting a new project, my very first step is always to understand the problem correctly. In other words, before asking “what am I designing?”, I ask “why am I designing it, and what need should it respond to?”

At this stage, user analysis, contextual reading, and examining site/environmental data are extremely important. After that, I usually begin the process with sketches. Because sketching is the fastest and most honest form of thinking. Seeing the first ideas on paper is very effective in determining the direction of the design.

As a designer and architect, I can say that my philosophy of life is to create aesthetic spaces and buildings that are beneficial to humanity, while also bringing a sense of beauty and peace to people.

I believe this is a two-way relationship. While trends provide designers with a sense of current direction, strong designs can also create new trends over time.

However, lasting designs are usually those that emerge independently of trends and are built on strong ideas. For this reason, I believe design should not simply follow trends, but rather, with the right approach, move beyond them.

Technology is a very important tool that accelerates the design process and helps us achieve more accurate results. It provides great convenience, especially in modeling, visualization, and analysis processes.

However, technology should be seen as a means, not an end. Because at the center of design there is always the relationship between people, ideas, and space. Technology is valuable as long as it supports this relationship.

In the design process, I usually start with a sketchbook and pencil during the idea development phase. This stage is the most critical thinking process for me. In the digital phase, I use different architectural modeling and drawing software depending on the needs of the project. In presentation and visualization stages, I prefer tools that can best communicate the design idea in the most accurate way.

Color, material, and environment are not merely complementary elements of design, but fundamental components that directly define its identity. Color creates the emotional impact of a space; it can evoke different feelings such as calmness, dynamism, or warmth in the user.

Material determines the physical reality and character of the design. Its texture, its relationship with light, and its transformation over time directly affect the perception of the design. The environment, on the other hand, is the framework that connects all these elements; in other words, the location of the design, its climate, and its cultural context all shape every decision.

I would like people to first ask, “What problem does this design solve?” Because the most accurate way to understand the value of a design is to understand the idea and need behind it.

In addition, the question “How does this space make you feel?” is also very important. Design is not only a technical solution, but also an experience. It would be valuable to me for people to question this as well.

Yes, I strongly believe in collaborative design. Design often becomes stronger through the combination of different perspectives. While a single person’s viewpoint can remain limited, teamwork makes the design richer and more balanced

Skill development cannot be tied to a single point; it is more of a journey shaped by continuous repetition, observation, and experience. For me, one of the most important things has been constant production.

In addition, having an interest in different fields has been very influential. Observing not only architecture, but also art, cities, nature, and human behavior has broadened my design perspective. Being open to criticism and re-evaluating my work has also been an important part of my development process.

Over time, I realized that what we call talent is actually a way of thinking built through patience and consistency.

Awards and recognition are of course motivating and gratifying, but for me, what truly matters is the work itself. The value of a design is not determined by whether it receives an award, but by whether it genuinely touches people’s lives.

My favorite color is turquoise, my favorite place is my home, my favorite food is stuffed grape leaves, and my favorite season is spring.

In the early years of my career, I won first place in a university campus design competition, and the project was approved for construction. After the university was completed, there was an opening ceremony with many distinguished guests.

I remember meeting Associate Professor Dr. Deniz Gökçe, one of Turkey’s respected academics, economists, and columnists. During the opening, we had a sincere conversation. He mentioned that, despite his own achievements, he had never been able to see a tangible outcome like this from his work, and that he had actually wanted to become an architect since his student years, but had ended up as an economist and academic instead.

He expressed that he was proud of me and our project, and emphasized that we should truly value the profession of architecture. I still remember this moment as a meaningful and memorable experience from the early years of my professional life.

After presenting a project developed with great effort together with the entire design team, it is a great source of peace and happiness when it is highly appreciated by the client or users. I can say that it makes the whole day feel wonderful.

While working, the feeling that our design will be well received and valued is one of the most motivating factors for both me and my team.

From an early age, I was intensely engaged in visual arts, specifically focusing on charcoal drawing and oil painting. However, I often felt that my artwork remained isolated on canvases, lacking a direct, practical utility for people; I was inherently searching for a pragmatic dimension to coexist with art. Later, studying at a science high school introduced me to various scientific disciplines, which sparked a profound enthusiasm in me to pursue life as a scientist and invent new things. Yet, I remained deeply attached to painting…

Around the middle of my high school years, I came across an article on architecture. It illustrated architecture as a unique discipline that bridges art and technology to innovate and serve humanity. Recognizing that architecture was the exact embodiment of what I had been searching for, I decided to pursue it as my career.

I see design not only as a profession, but as a way of understanding and improving life. I can say that behind every project there is a desire to make even a small contribution to people’s daily lives. I believe that the most important thing in the design process is continuous learning, observation, and self-improvement. I think that no design is ever truly “completely finished,” and that something better is always possible. For this reason, every project is a new beginning for me. The most important thing I want people to understand is that design is not only a result, but a process of thinking and making. Behind the visible form, there is a long process of analysis, experimentation, and decision-making.

From an early age, I was intensely engaged in visual arts, specifically focusing on charcoal drawing and oil painting. However, I often felt that my artwork remained isolated on canvases, lacking a direct, practical utility for people; I was inherently searching for a pragmatic dimension to coexist with art. Later, studying at a science high school introduced me to various scientific disciplines, which sparked a profound enthusiasm in me to pursue life as a scientist and invent new things. Yet, I remained deeply attached to painting...

When we established Ser Architecture in 1999, our main objective was not just building construction, but producing permanent living environments that contribute value to the environment, society, and cultural context. Reflecting on the past today, we experience the pride of having accomplished large-scale and multi-functional projects in a very broad range, from residential projects to urban planning, university campuses, and public or administrative buildings.

Our biggest strength is our faith in teamwork and interdisciplinary interaction. We handle our designs not only from our own window, but by enriching them with the dynamism created by diverse disciplines. We shape every project with rational solutions without sacrificing aesthetics, in accordance with its specific budget, physical environment, and functional requirements. Along with our professional and dynamic staff closely following modern building technologies, we advance our steady line and rise in the sector day by day.

To me, design is a production process that solves human problems and delivers utility and peace through the harmony of art and aesthetics.

For me, design is a process of extracting an aesthetic truth from constrained data and complex challenges. This is why I prefer designing projects that have the highest number of design problems and constraints—in other words, those that are the most difficult to resolve. Rather than intimidating me, topobiographical or topographical difficulties, budget limitations, or functional complexities only motivate me further. Any project, regardless of its scale, is my favorite kind of work if it transforms that initial mental chaos and the intense 'darkroom' process of the mind into a clear, rational, and aesthetic solution, ultimately evolving into a living space that instills peace in its users.

Generally, alongside the moments when my intrinsic motivation is high and I am happy, those very first moments when I analyze the project data and find myself alone with the design are my most creative times, during which I experience a tremendous mental leap.

While designing, I first focus on the 'analytical and problem-solving' side of the project. To me, each design is a process of bringing out an aesthetic truth from limited data, budget limits, and topographical difficulties. That is why, during the first phase, I concentrate on deeply analyzing all the constraints and functional chaos of the project.

Yet, technical and rational solutions are not sufficient on their own; my second and most crucial point of focus is the 'peace and benefit' that the design provides to human life. I aim not for a building to just stand as a pretty 'picture,' but to touch the souls of both the residents within and the citizens passing by, giving them tranquility. Simply put, I focus on the delicate balance between a rational problem-solving process and a spatial experience that brings aesthetics and peace.

I take great pleasure while designing. At the start of the process, identifying the design data and the problem, and intensely living through that 'darkroom' process in the brain is honestly very challenging. However, it is a process that is just as exciting and enthusiastic as it is difficult for me. The exact moment when the design slowly shapes up and the rational solution is put forward is the one that makes me the happiest as a designer, and it is when I feel a great emotional excitement and satisfaction.

"Hearing the beautiful remarks of users and citizens regarding our designs that have come to life elevates us to a great feeling of pride and satisfaction. While this positive feedback makes us happy, it simultaneously increases our consciousness of responsibility even more.

What makes a design successful is its ability to resolve technical and functional problems in a rational way, without compromising on artistic aesthetics, and ultimately create an enduring spatial experience that offers peace, utility, and happiness to people

When evaluating a design, my first and most important criterion is how rationally it resolves the project's constraints and inherent problems. Every project comes with its own budget limits, topographical difficulties, and functional complexities. A good design is one that, rather than avoiding or concealing these challenges, extracts a clear, logical, and consistent solution from within that chaos.

Secondly, I look at whether a balance between aesthetics and technique has been established. Design should not stand alone as a purely beautiful yet dysfunctional 'canvas'; nor should it be a soulless formula that remains strictly at an engineering level.

My ultimate and most critical evaluation criterion is what the space makes a person feel. A good design is one that has successfully transformed into a living space that touches the souls of its users and passing citizens, offering them utility, peace, and serenity. Even if a project is constructed with the most luxurious materials, if it brings discomfort to the people inside and fails to provide a benefit to society, it is not a good design in my eyes.

A designer’s responsibility toward society and the environment is not merely to construct aesthetically pleasing buildings, but to create enduring living spaces that align with the spirit of the geography and deliver direct utility and peace to humanity. In my design philosophy, architecture is a social mission. It is not enough for a structure to simply remain a beautiful 'canvas' on its own; it must touch the souls of the users living inside and the citizens passing by, offering them serenity and happiness.

Our responsibility toward the environment lies in rationally resolving the constraints of a project—such as topographical challenges, physical environmental data, and geographical conditions—to establish a stable, balanced, and spatial harmony that is compatible with both nature and the city. As in the philosophy of Mimar Sinan, a designer must always consider the timelessness of their work, aim to serve the community, and bear the ultimate responsibility of leaving behind pragmatic and permanent values for the future.

We are witnessing the field of design undergo a rapid technological transformation. Artificial intelligence, digitalization, and modern construction technologies offer us tremendous tools to manage data analysis and the initially chaotic mental processes of design. Coming from a science high school background and embracing analytical methods, I view technology's speed in problem-solving as a highly powerful development in our field.

However, the future of design cannot merely be about utilizing smarter software or generating more complex forms—meaning, it cannot just be about the shape. No matter how advanced technology becomes, there is an unchanging core of design that will become even more precious: touching human lives, incorporating the human body into the space of experience, providing utility, and instilling peace. The future of design must be a vision that smartly deciphers evolving technical capabilities and restrictive environmental data, without ever compromising on artistic aesthetics, to create enduring spatial experiences that are deeply nurturing to the human psyche

For me, design inspiration does not come from a single source, but from the multi-layered structure of both the past and the present. My first and greatest source of inspiration is the profound depth of historical layers and cultural dynamics of the geography I live in. The deep-rooted history and culture of tolerance in Turkey, and particularly in Konya, directly shape my designs. In this sense, Mimar Sinan’s philosophy of creating timeless masterpieces dedicated to serving society is my ultimate guide.

Secondly, I draw inspiration directly from the project itself and the challenges it presents. Analyzing the project data, alongside the topographical and functional constraints, and standing alone with the design for the very first time sparks a tremendous mental leap in me. In other words, the problems themselves transform into the greatest fuel that feeds my creativity.

Culturally and mentally, I nurture my creativity through art and cities. My passion for painting, which I have been deeply attached to since childhood, and the dynamic daily life of layered cities like Istanbul—which present the traces of both the past and present simultaneously—are breathtaking sources of inspiration for me.

The fundamental characteristics of my style are carrying a language that is clear, logical, functional, and timeless, which brings the light and spirit of the space to the forefront, free from useless ornaments.

As for my approach to design, it relies on a social mission. Like the philosophy of Master Mimar Sinan, I aim to leave permanent masterworks for the future that serve humanity, provide benefit, and give tranquility to the spirit, rather than just saving the day.

I live in Konya, a city known in Turkey as the land of Rumi and tolerance, which is also home to Çatalhöyük, one of the oldest ancient settlements in human history. The cultural heritage of my country absolutely shapes my designs. For me, design is about leaving enduring works that serve humanity and instill peace. In this sense, I am deeply inspired by Mimar Sinan—the historical chief architect of the Ottoman Empire—and his philosophy of creating timeless masterpieces meant to serve society. I don't see cultural heritage as just mimicking the past, but as capturing that spirit of creating a calm, stable, and balanced harmony within a space.

As for the pros and cons of designing here: The biggest advantage is the profound depth of historical layers, cultural dynamics, and breathtaking context that this geography offers, which serves as a constant source of inspiration. On the other hand, the reality of working within tight budget constraints and pressing time limits can often act as a disadvantage, sometimes hindering the emergence of beautiful concepts. However, this is exactly where my design philosophy thrives. I believe that a high number of constraints and challenges actually make a design stronger. Transforming that initial technical chaos into a rational, aesthetic truth that gives peace to its users is what motivates me the most.

When working with companies, we position ourselves not merely as an architectural design service provider, but as a 'design partner' that adds value to their vision and investments. For us, the budget limits, time constraints, and commercial targets inherent in corporate projects are not obstacles that stifle creativity; on the contrary, they are rational data that reinforce the design.

When designing, my priority is always to accurately analyze users’ needs and ensure that the design establishes a strong relationship with its surrounding environment. I believe that functionality is just as important as aesthetics.

I usually begin the design process with sketches, freely developing my ideas on paper first. Later, I refine the project through technical analyses and detailed planning. In terms of style, I value spaces that are simple, balanced, timeless, and psychologically comforting for people. At the same time, I believe that a design should have an innovative language that reflects the spirit of its own era.

I like starting the day early in the morning. While sipping my tea or coffee, beginning my work with design ideas and sketches is one of the most important routines that increases my motivation throughout the day.

My most important advice to young designers is to observe carefully and keep creating continuously. To become a good designer, one should pay close attention to art, history, cities, human behavior, and nature. It is also important to be patient, because good design is a process that takes time. They should never lose the habit of sketching and should have the courage to think originally and creatively.

In addition, I believe that drawing inspiration from different disciplines is one of the most important factors that helps a designer grow. Experiences such as music, cinema, literature, and travel broaden a designer’s perspective and strengthen creative thinking skills. I also think young designers should not be afraid of making mistakes, because very often the best ideas emerge during the process of experimentation.

From my perspective, the most positive aspect of being a designer is seeing an abstract idea in your mind resolve into a rational solution after that initial, chaotic 'darkroom' process, and ultimately transform into a tangible reality where people live, touch, and find peace. Experiencing that first mental leap when standing alone with project data, and later hearing appreciative, beautiful feedback from users and citizens about your realized work, is an indescribable source of pride and professional fulfillment. Just as in the philosophy of the master Mimar Sinan, being able to leave behind timeless values for the future that serve humanity and bring serenity to the soul is the ultimate reward of this profession.

The negative, or more accurately, the challenging aspect, is the painful, uncertain, and intense mental process inherent in the very nature of creativity. Design is not something you can simply switch off in your mind when office hours end; it permeates every single moment of your life.

In my world, the golden rule in design is never about producing a stylistic, dysfunctional 'canvas.' The true golden rule lies in deeply deciphering all the challenging inputs—such as budget constraints, topographical difficulties, and zoning limitations—and, after navigating that mental 'darkroom' process, establishing a timeless balance that highlights both rational solutions and the light and spirit of the space.

As a designer, the most critical skill is the ability to transform negative situations and constraints into the very potential of the design.

Our design methodology relies on a multi-layered toolkit in which theoretical inquiry and practical production are executed simultaneously. While conducting intensive academic readings to nurture the conceptual infrastructure of the process, we utilize this knowledge base along with experimental sketching as fundamental tools for both production and cognitive investigation.

To transition the initially chaotic mental processes of design into a rational framework, we establish a dynamic and cyclical interaction between two-dimensional representations and three-dimensional digital simulations. Through various 3D modeling and visualization software, we rapidly analyze the spatial, volumetric, and tectonic outcomes of our design decisions, transforming the fluidity between 2D and 3D into a methodology that unlocks the inherent potentials of the project.

By its very nature, design is a timeless process that does not fit into regular office hours and continuously occupies the mind. However, managing time while running a professional practice is only possible by anchoring design within a rational methodology. The intensive academic readings and analyses we conduct at the very beginning of the process serve as our greatest investment, minimizing potential time losses down the road. My greatest strength in time management is proper division of labor and robust team coordination.

Rather than defining my greatest design work through a single project, I can say that all the design processes I have developed across different scales and various challenges have collectively shaped me as a designer.

For me, the “greatest work” is the continuous effort to analyze design problems, produce original solutions to them, and reach a more advanced level with each new project compared to the previous experience. Therefore, my greatest design work is not a specific project, but the entire process of learning, creating, and improving that I have pursued throughout my journey so far.

My answer would be very similar to the previous one

Throughout my professional career, I strive to continuously improve myself, work on projects at different scales, and further develop my design approach. In the future, I would like to take part in larger-scale, international projects that contribute to urban identity. My dream is to design iconic structures that will be remembered for many years and add value to people’s lives.

At the same time, I aim to create spaces that not only respond to aesthetic and functional needs, but also establish an emotional connection with people, positively influence the experience of everyday life, and add value to their surroundings. I believe that architecture is a powerful field that shapes the way people live, feel, and interact with their environment, and I want my designs to make meaningful contributions to this relationship.

We definitely work as a team. We build our design processes upon a rational methodology and a disciplined schedule within the office. At the beginning of a project, we analyze the constraints and data together, collaboratively managing the fluid transition between two dimensions and three dimensions through various software and sketches. This robust team coordination allows us to manage time accurately while minimizing the margin of error. The decisive, clear, and transparent architectural solutions we offer when working with companies and corporate investors are a direct result of this professional production discipline exhibited by our team as a whole.

We operate as an inherently accessible and communication-oriented practice, ensuring that stakeholders can effortlessly establish contact with me through our coordinated team