Interviewe mat H. Guliz Tavukcuoglu

I have been working in interior architecture and spatial design for over thirty years. After graduating from Mimar Sinan Fine Arts University, I established my own design office. I have developed residential, office, restaurant, and commercial projects, while simultaneously working on product and lighting design. Spatial identity, proportion, material sensitivity, and the role of light have always been central to my work.

My education in Building Draftsmanship and Technical Construction High School naturally directed me toward architecture and design. Driven by my interest and ability in drawing and spatial thinking, I chose to study at Mimar Sinan Fine Arts University. Although I hesitated for a time between graphic design and interior architecture, I realized that interior architecture offered a more comprehensive field that combines technical knowledge with artistic expression. Even after thirty years, I continue to work with the same enthusiasm, and the reason I still feel motivated and inspired is that I genuinely love this profession.

For me, details form the foundation of design. Concept and identity define the direction of my projects, but details bring them to life. The whole is built through the accumulation of carefully considered details. Therefore, proportion, material sensitivity, and technical resolution are as important as the smallest junction point. Spatial coherence and refined detailing are essential in every project I undertake.

Designing creates a sense of excitement and renewal for me. Every new project feels like a fresh beginning that energizes me intellectually. Each design is a journey of discovery, and that sense of exploration is what motivates me most.

My master’s research at Istanbul Technical University focused on the relationship between corporate identity and spatial design. It shaped my understanding of design as a communicative language. Discipline, patience, and attentive listening are non-design skills that strengthen design outcomes.

Aydınlatmayı mimari bir araç olarak ele almaya devam etmek ve koleksiyon niteliğindeki tasarımlarımı uluslararası ölçekte geliştirmek istiyorum. Zamansız ve tutarlı mekânsal deneyimler bırakan bir tasarımcı olarak hatırlanmak isterim.

My advice to young designers is to focus on their inner inspiration. A copy-paste approach may produce short-term results, but originality creates lasting value. Discovering and developing their own design language is their most important investment.

Every designer has a distinctive line. Professional designers should protect and deepen their own design language. Success does not come from imitation, but from clarifying and strengthening one’s own vision.

I usually begin my day by reviewing my notes. Before diving into work, I try to dedicate a moment to myself. If possible, I create a calm start to the day, which allows me to remain focused and balanced throughout my work.

I observe trends but do not design around them. Inspiration comes from architecture, art, and everyday life.

Good design feels inevitable. Nothing feels excessive or missing. It is functional, coherent, and balanced.

A design is ready when further intervention does not add clarity. Perfection may be endless, but concepts reach resolution.

The Gül’iz Collection is undoubtedly the most intensive and personally significant milestone in my career. It represents the crystallization of thirty years of accumulated experience. Among my architectural projects, the Chemical Cargo Tanker and the BigChefs Restaurant projects remain particularly meaningful to me in terms of both process and outcome.

Among Turkish designers, I appreciate the work of Ahmet Alataş. Internationally, I admire the architectural approaches of Tadao Ando and Frank Lloyd Wright. Designers who maintain structural honesty and timeless clarity are always inspiring to me.

My lifestyle is simple and understated, yet attentive to detail. I am drawn to refined and meaningful elements. This perspective naturally reflects in my design language, where I aim to create spaces that are free of excess yet full of character.

Clarity, professionalism, and trust define my work culture. I collaborate with experienced production partners and approach each project with precision and responsibility.

I try to offer internship opportunities to young professionals whenever possible and value the sharing of professional knowledge. Additionally, allocating a portion of the net income from the Gül’iz Collection to social benefit initiatives is one of my strongest motivations.

Design awards provide visibility, international dialogue, and professional validation. The recognition of Gala in 2025 strengthened the international presence of my work.

At Mimar Sinan University, which is the best university of our country in the field of art and design, I won the interior design department as the 7th in the talent exam and graduated in four years. I finished Construction Technical High School in High School, so I consciously turned from high school to interior architecture with a certain infrastructure.

GNT Interior Architecture was founded in 2007 in Istanbul by interior architect H. Güliz Tavukçuoğlu.

The studio focuses on creating architectural and interior design projects that balance aesthetics, function, and identity in a harmonious way.

At the core of our design philosophy lies the principle of “reflecting corporate identity within space.”

Every project tells a unique story that combines the personality of its owner, the spirit of the brand, and the potential of the space itself.

GNT is recognized for its attention to detail, refined material selection, and timeless elegance.

Under our brand “GNT Design Product”, we also develop the Gül’iz Collection – a series of lighting and decorative objects exploring the emotional dialogue between light, material, and the human spirit.

Combining a scientific and artistic foundation, GNT Interior Architecture aims not only to design spaces, but to complete them with soul, through original lighting and furniture creations that reflect the essence of each environment.

For me, design is a lifestyle, the path from idea to reality.

Corporate spaces such as restaurants, offices, shops.

In my 25th year in the profession, I designed my own office , 25-square-meter space that meets all my needs while reflecting every detail with precision and subtlety. The elegant texture of marble blends with the warmth of wood, while transparent and reflective surfaces create a sense of spaciousness within this compact area. After designing hundreds of spaces for others, I realized that my favorite one is this a small yet deeply meaningful “cocoon,” where every element carries a part of my story and design philosophy.

Borusan Otomotiv Turkey, İstinye conference room corporate design was the first project I created with the finest detail.

I love marble, wood, glass and stainless material. I like to design handcrafted special products and see the realization process.

Proud and peaceful

For me, function always comes first, because function defines the form, and style gives that form its identity. After the initial concept phase, I focus on feasibility and practical realization, ensuring that every idea can be built and experienced as intended. Once those foundations are solid, the aesthetic touches begin to emerge naturally. When all these elements flow together in harmony, that’s when I know the design truly feels complete.

Making a design makes me happy.

Pride and inner peace

The path to good designed spaces and successful project organizations depends on completion of an assignment by delivering the quality, cost and time requirements of the client.

For me, purpose and function have priority, aesthetics are formed automatically when solutions are completed.

In today’s modern, technology-driven world, we spend most of our lives indoors. Therefore, the spaces where we live and work should not only be functional, ergonomic, and aesthetic, they should also create a healthy, peaceful atmosphere that makes life easier and more meaningful. As an interior architect, I believe my greatest responsibility to society and the environment is to design spaces that enhance human well-being, evoke positive emotions, and sustain harmony between people and their surroundings. Guided by this belief, I created the Gül’iz Collection a design initiative born from the desire to transform aesthetic creation into social benefit, and to share the emotional power of design with the community.

Renewable and environmentally friendly designs should increase and consumption should decrease.

This is a process and years of accumulation. I nurture my experience by following the latest innovations and traveling as much as possible.

My design style seeks elegance and meaning within simplicity. In every project, my goal is to let even the most minimal form express its own soul and story through subtle, refined details. Whether it’s a space or a product, the design should convey a sense of modernity, warmth, and quiet sophistication. Clean lines, natural materials, and a distinctive touch are essential elements of my work. I focus on creating precise harmony through delicate details, where every millimeter contributes to a balanced composition. This approach allows each design to reflect its identity naturally, functional, emotional, and timeless.

The steel mezzanine emerged from a spatial challenge rather than a structural ambition. Although the office occupies only 25 square meters, it has a ceiling height of 5.5 meters. This unusual proportion made the space feel narrower and deeper than it actually was, creating a tunnel-like perception.My goal was to break down this vertical scale and create a more balanced spatial experience while gaining additional functional area. The mezzanine allowed us to introduce storage and a small service space above, while preserving the openness of the main working area below. The floating wooden staircase became a sculptural element that connected these two levels and helped transform the height into an architectural feature rather than a challenge.As both the designer and the user of the space, witnessing this idea become reality was particularly meaningful. The project reinforced my belief that limitations often lead to stronger design solutions. What began as an effort to solve a difficult spatial condition ultimately became the defining element of the entire office.

Evaluating small spaces only by their floor area means overlooking much of their potential. With the GNT Interior Architecture Office, I wanted to show that a space is not defined by square meters alone. When carefully planned, both visible and hidden solutions can allow all functional needs to be accommodated within the same volume. For this reason, I considered both horizontal and vertical space as active parts of the design.The mezzanine, concealed storage areas, multifunctional surfaces, and materials that enhance visual continuity allowed us to make a relatively small space work much harder. The main idea was to organize the available volume in a way that could support all of our needs without compromising the spatial experience.I believe future workspaces will become increasingly compact, while shared-use environments will become more common. As a result, spaces that make better use of every square meter and can adapt to different needs will become even more valuable. The GNT Interior Architecture Office was designed around this idea.

One of my main goals in the GNT Interior Architecture Office was to create a calm and cohesive spatial experience by making as many functional elements as possible invisible. For this reason, I developed several custom detail solutions throughout the project.One of the most important was the sink concealed within a large storage unit. To keep the sink completely hidden, I used a glass countertop solution that I had not implemented before. The operable glass cover and the faucet that appears only when needed allowed me to eliminate the visual presence of a kitchenette in everyday use.Similarly, I did not want the television to remain permanently visible. Instead, it was concealed within a volume designed as the supporting leg of the main work desk. When needed, it rises through a lifting mechanism and can be used for presentations and meetings. This detail not only creates an unexpected experience for visitors but also helps preserve the clean character of the workspace.Precision fabrication and on-site adjustments played a major role in the success of these solutions. The concealed sink system, the technical infrastructure integrated within the desk, the custom glass cut-outs, and the precise alignment between the staircase and storage elements all required millimetric accuracy and careful coordination. In the end, these technical details remain largely unnoticed by users, yet they are essential to maintaining the simple and calm atmosphere of the space.

For me, this award means that the project has been recognized not only for its aesthetics, but also for the thinking behind it. With the GNT Interior Design Office, my aim was to create a simple, clear, and calm spatial experience from the moment someone enters the space. Behind that simplicity, however, are numerous hidden functions, technical solutions, and carefully considered details.I believe the project's most important message is that spatial quality is achieved not by adding more elements, but by organizing needs intelligently. For clients considering working with GNT, this project reflects our approach to transforming complex requirements into simple and cohesive solutions.

Frankly, I see this process less as solving problems during construction and more as anticipating them during the design phase. In my professional approach, design and execution are not separate processes. When developing a detail, I also think about how it will be produced, transported, assembled, and integrated into the project.At the GNT Interior Architecture Office, the mezzanine structure, marble elements, and technical details were all considered alongside engineering requirements and construction constraints from the very beginning. As a result, the implementation process progressed largely as planned.Rather than changing my approach to problem-solving, this project reinforced my belief that design decisions cannot be separated from technical realities. For me, successful design is not only about creating something visually compelling, but also about understanding how it will be built from the outset.

I do not see the relationship between marble and wood as a source of tension. In the GNT Interior Architecture Office, I used block marble to create a more elegant and distinctive presence. At the same time, to balance the potential coldness created by the glass and mirrored surfaces throughout the space, I incorporated solid wood.For me, what matters is not whether materials stand out individually, but how they work together to create a balanced spatial experience. The warmth introduced by the wood, combined with the solidity of the marble and the reflective surfaces, became an important element in shaping the overall character of the space.

The most important thing I learned from this project is that a well-designed space should do more than simply fulfill its functions; it should also make people feel good. When I work in the GNT Interior Architecture Office, I often lose track of time, and seeing visitors enjoy the space and leave with positive impressions is equally rewarding.The mezzanine, concealed systems, storage solutions, reflective surfaces, material selections, and all the other details continue to perform exactly as intended. Looking back, there is nothing significant that I would change.This experience has reinforced the approach I bring to future projects. For me, design is not only about meeting functional requirements, but also about creating spaces where people feel comfortable, inspired, and genuinely enjoy spending time.

I believe that every project should have its own unique character. That character is shaped by its users, its function, and the message it aims to convey. For this reason, I do not evaluate the success of a design based solely on aesthetics. What matters to me is whether the intended feeling can be communicated through the right materials, the right details, and the right spatial decisions.People should be able to work productively in a workspace, feel at ease in a place designed for relaxation, and stay focused in a learning environment. The role of design is not simply to create impressive images or photogenic spaces, but to create holistic environments that connect with people on an emotional level.For me, the most important lesson of the GNT Interior Architecture Office is that the true success of a space lies in the emotional connection it creates with its users.

Although it initially seemed like a limitation, the municipal regulations ultimately shaped one of the most important spatial decisions in the project. Designing the mezzanine within these constraints, rather than extending it across the entire space, allowed me to preserve the impact of the 5.5-meter ceiling height and create a stronger sense of volume. Looking back, this restriction helped lead to a more creative and balanced outcome than complete design freedom might have produced.

The comments I receive from visitors have been some of the most valuable feedback about the project. Many people say that the space feels impressive from the moment they walk through the door. More importantly, as they spend time in the office, they often describe it as calm, comfortable, elegant, and welcoming.To create this feeling, I combined mirrored surfaces, transparent elements, natural materials, plants, and design decisions that enhance natural light. My goal was not simply to make the space appear larger, but to create an atmosphere where people genuinely enjoy spending time.I believe the success of a space is measured by how people feel when they leave it. That is exactly the experience I wanted to create with the GNT Interior Architecture Office.

To celebrate my 30th year in the profession, I created a collection that bears my name and reflects the meaning of that name. This is how “GÜL’İZ” was born—the trace of a rose. I wanted each design to carry a trace of myself, bringing not only light but also energy and meaning to the spaces it inhabits. The rose, one of nature’s highest frequencies, inspired me with its symbolic elegance. Thus, every piece transformed into a sculptural form that leaves my imprint and resonates with a subtle, uplifting energy in its environment.During this process, Sartre’s concepts of “the Other” and “the Gaze” served as a philosophical guide. An object, after all, is not shaped solely by its creator, but also by the one who looks at it. That’s why I designed my forms to be open to interpretation—layered, free, and responsive. I wanted viewers to project their own emotions and perspectives with every gaze.The resulting stylized, sculptural forms are not merely lighting objects—they are elements of a narrative of existence. Each line carries both a personal imprint and space for meaning. By merging the grace of the rose with Sartre’s questioning gaze, I aim to build an intellectual and emotional bridge between light and space.

The translucent porcelain body in Gala Decorative Lighting represents one of the most technically and aesthetically demanding aspects of our process. Working with porcelain at such a thin level—allowing light to pass through while maintaining structural integrity—requires a delicate balance. The greatest challenge lies in completing the firing without cracks or deformation at this thinness. When porcelain drops below a certain thickness, it becomes fragile and tends to lose its shape in the kiln. For this reason, we conduct many experiments and develop different methods to achieve the desired form.In custom porcelain production, we choose casting clays that best reflect both the intended form and the light quality. We apply a multi-stage, highly controlled firing process; every detail—from ensuring uniform wall thickness in the mold to monitoring humidity levels and kiln temperature—is followed meticulously. While finding the perfect balance takes time, the resulting soft and calming glow adds an elegant touch to the space.

At the very beginning of the design process, I wanted Gala Decorative Lighting to adapt seamlessly to different spaces and lifestyles. Today, living environments are dynamic and multi-functional; users seek lighting objects that are not only aesthetically refined but also versatile and transformable. Gala’s modular structure meets this demand by allowing the same object to function as a table lamp, wall sconce, or pendant. With interchangeable components and connectors, it offers the user the freedom to reinterpret the object over time.This flexibility comes from approaching design not just as a static object, but as a dynamic experience. The effect of light also transforms depending on where the light source is positioned, enabling the user to create distinct atmospheres with a single piece. This philosophy reflects the rising importance of “customizability” in contemporary interior design.

Porcelain and brass are very different from each other in terms of their textures and symbolic meanings, but when they come together, they create a strong balance. The delicate, light-permeable structure and elegant-chic stance of porcelain and the durable, shiny, timeless and luxurious character of brass complement each other. This contrast creates both a visual shine and a sense of balance. Brass details not only serve a structural function; they also have a signature feature that emphasizes the elegance and permanence of the design.What inspired this combination was the harmony of contrasts that we often encounter in nature. I wanted to establish a connection between finesse and solidity, light and matter, fragility and continuity. It was important for it to adapt to interior designs with different concepts with both a luxurious touch and a simple visual line. At the same time, brass ages by gaining patina over time, which gives the object a living, organic identity. From this perspective, I wanted to create an object that transforms with the user, both on an aesthetic and functional level.Porcelain and brass are very different in terms of texture and symbolic meaning, yet when brought together, they create a striking harmony. The delicate, light-transmitting nature and refined elegance of porcelain contrast beautifully with the durable, lustrous, timeless quality of brass. This interplay not only provides structural integrity but also adds a sense of visual brilliance and balance. The brass elements serve as more than just functional components—they act as signature details that highlight the design’s grace and lasting presence.The inspiration behind this pairing came from the harmony of opposites often found in nature. I wanted to build a relationship between finesse and strength, light and matter, fragility and permanence. It was important that the piece could integrate into various interior concepts with both a luxurious touch and a minimalist aesthetic. Over time, the brass develops a patina, acquiring an organic, living character. In this sense, I aimed to create an object that evolves with the user—both aesthetically and functionally.

Gala was born as a symbolic expression of my 30th year in the profession. It is not merely a design; it marks a turning point for me—a moment of self-reflection. Over the years, my relationship with form, function, and material has grown more nuanced. In my interior architecture projects, I have always valued how identity reflects in space, and I wanted this principle to resonate throughout the collection. Today, I find it essential to embed emotional and intellectual layers into my designs. Gala is the result of that evolution. Through every detail, I wanted to express that design is not just an object—it can carry traces, memories, and energy.Each object that enters a space becomes part of the lives and stories of those who inhabit it. That’s why Gala’s contours tell a personal story. It’s a piece completed by the viewer’s gaze, whose meaning deepens over time. A design that unites the trace of the rose with Sartre’s philosophy, forming a bridge between my past and present. This delicate balance gives it both a personal and a universal language.

Gala’s organic and gently curved form was a challenge in itself when crafted with traditional porcelain techniques. Porcelain is a fragile material that struggles to maintain its shape at high temperatures. Curved surfaces that are difficult to balance are especially prone to deformation during firing. At this stage, we introduced 3D modeling technology. From the earliest sketches, we created digital prototypes to test how the balance and center of gravity would behave.However, technology alone wasn’t enough. Collaborating closely with our skilled artisans, we carefully translated each digital form into physical reality. The mold-making process demanded millimeter-level precision, as even the smallest proportional error could cause the shape to warp after firing. To preserve the form, we employed a combination of experimental techniques. This hybrid approach — blending digital accuracy with handcrafted expertise — enabled us to create a product that is both technically robust and aesthetically refined. This fusion of tradition and innovation deeply shaped Gala’s character.

The rose is a very powerful plant both symbolically and at a frequency level. It has been a symbol of beauty, love and spiritual elevation throughout human history. At the same time, research shows that the rose has one of the highest vibration frequencies in nature. With the idea that the rose carries its highest frequency to the space it is in in every form, Gala's rosebud-like form was born. This form represents not only an aesthetic preference, but also the desire to carry positive energy to the space.I stylized and abstracted the rose form; in this way, it both gives a familiar feeling and evokes a universal sense of beauty. The soft spread of light passes through this form and spreads into the space. This provides both visual and emotional comfort. My aim was for Gala to be felt not only as a lighting object, but also as a sculptural object that balances the energy of the environment it is in. In this respect, the design carries an intention beyond aesthetics: to establish a connection with people, space and emotions at a frequency level.

The hidden LED lighting system we used in Gala is one of the most essential elements, serving both the spirit and the function of the design. Light is not only for seeing—it has the power to shape atmosphere, set the mood, and transform spatial perception. That’s why I approached light intensity and distribution by asking: How should someone feel in this space? I envisioned a light that softly filters through the rose form—gentle on the eyes and evenly diffused.The idea of lighting as a kind of breath inspired me—not too intense, not too faint. Soft, but perceptible. The concealed LED source adds a poetic dimension to the experience: the light itself is invisible, yet its presence is deeply felt. At the same time, LEDs support this choice on a technical level with their low energy consumption and long lifespan, aligning with sustainability. The result is a lighting experience that offers both emotional resonance and physical comfort.

During the design process of Gala, Jean-Paul Sartre’s concepts of the “Other” and the “Gaze” became guiding principles for me. According to Sartre, a person becomes aware of their own existence only through the gaze of another. Inspired by this idea, I wanted Gala to carry a meaning that shifts and transforms depending on who is looking at it. Each viewer brings a unique interpretation through their mood, experience, and perception.That’s why I shaped the forms to be open-ended, avoiding any fixed or absolute expression. The stylized and sculptural pieces reveal different meanings from every angle. Gala is not a static object; it comes into existence through the gaze, redefining itself with every look. In this way, the design transcends its physical presence and takes on a philosophical dimension. Each observer is given the opportunity to rediscover a part of their own existence through the object.

Gala, as the first piece of the “GÜL’İZ” collection, holds both a symbolic and guiding meaning for me. Carrying the trace of the rose, this collection has evolved beyond pure aesthetics to embrace a deeper sensory and philosophical dimension. Whether used alone or together, Gala and the other pieces create a sense of presence—a subtle but meaningful touch within the space. Each object should tell a story, not merely provide light, but build an emotional connection with its surroundings and stand as a sculptural form even when the light is off.This approach is leading me toward more interdisciplinary and conceptual explorations in both current and future designs. I want to create products that are not only functional, but also metaphorical—blending art, philosophy, craft, and technology. The interest and fulfillment that Gala has brought affirmed how meaningful this journey truly is. From now on, I will more boldly seek ways to leave a lasting trace with every new design.