Ngā Uiuinga me Ruya Akyol

I completed my bachelor degree 10 years ago and I move to Milan to do my master degree in Domus Academy. During my studies I already started working for Claudio Bellini and I became the Studio Director in 3 years. After 5 years of working there I moved to Paris to work with Philippe Starck. And finally by the end of 2021 I launched my own design studio.

I had always been a creative person with a lot of imagination. I wasn't particularly good at drawing but I had an eye for color combinations.

For me the biggest inspiration is my observations. I love traveling and I mostly gather my inspiration from my trips. I always start with sketching and give it some time before I actually start building the idea.

Excitement!

I am a very curious person and I love fashion. I like beautiful things and spaces. I think that made me become a designer.

Launching my own company.

Consistancy

Doing a lot of research and consistancy.

I try to travel and work from different locations. So my day to day life is not very stable and mostly chaotic. So I am never bored but mostly exhausted!

I try to go to most of the design fairs in USA-Europe and Middle East

Design can be very subjective but obviously there is a limit of being a good design and kitsch. I believe in Less is More so for me after designing a piece I always question if I can remove more from it.

I give it some time after one point and than come back to it and review. If I like it even after that time I proceed with the design.

I designed a modular sofa called Ruhe and I use it at home as well. I believe that was a complicated yet a very interesting design.

Patricia Urquiola

I am from Türkiye but I lived all my 20s in Europe. So my heritage feeds my more minimalist style with colors and textures. My husband is Swedish so I get inspiration from every part of my life. This includes lots of traveling - galleries - exhibitions - musicals etc.

I like to collaborate with freelance designers and I am very open to receive comments. I love starting the design process alone and than get all the feedback. The best time I create concepts is when I am alone.

It was my dream to receive an A Design Award and as a designer I got the benefit and all the support from the community to make that come true.

Hiding the mechanism with an elegant silhuette

I wanted to give a feminine touch to the workspace

Developing more pieces in its family

The entire process took around 1 year

I was commissioned to design a series of office chairs and this one was the most particular piece

My design is produced by my client Rapido

I was tired of seeing the same typology of chairs in the offices all the time

This piece was inspired by the tuxedo - the iconic black tie event outfit

Contemporary style offices

The unexpected detail on the back that hides the mechanisms and connection details of the chair

It comes from the Tuxedo dress and shorty called Tux

3D Modeling - Rendering - Prototyping

The back and the seat comes as two different pieces. The seat turns over the back and gives extra lumber support

I worked with a highly skill factory of the client

Injection molding

Ergonomic criterias

Working with injection molding forces the designer to be extremely precise. I improved both modeling and ergonomic analysis skills.

I completed my bachelor degree 10 years ago and I move to Milan to do my master degree in Domus Academy. During my studies I already started working for Claudio Bellini and I became the Studio Director in 3 years. After 5 years of working there I moved to Paris to work with Philippe Starck. And finally by the end of 2021 I launched my own design studio.

I had always been a creative person with a lot of imagination. I wasn't particularly good at drawing but I had an eye for color combinations.

I chose to become a designer even though I had small support from my community.

Mostly furniture design

Never give up and research a lot

Origiality

Great balance of visual impact and functionality

Long lasting and good energy

I would like to launch my own company

Patricia Urquiola Barber Osbergy Broullec

Being curious

Creativity

My roots and the opportunities of living in different locations

Proving my self as a young Turkish woman designer in a very male dominated industry

The presentation is more than half of the project

I am working as Art Director for some of the biggest Turkish companies. So we have non stop long term projects. The next big project will be hopefully for our outdoor furniture client.

Making people smile

Building a brand from scratch is the most exciting work. We have bee involved with some of our clients from day 1 and we built their brands together.

Less production and more sustainable solutions

Long lasting timeless pieces

It depends on the complexity of the project. Usually from 6 months to a year.

Feminine simplicity

Styles over trends creates the timeless designs

Ease of prototyping

Rhinocerus Adobe Creative

Colors and materials are the most important element of impactful design

Where the inspiration comes from

More ideas

I work alone

Distopias

Researching and traveling and working hard with big designers

My sister

I don't have a fav color I love all of them, Italian Aperitivo, Spring, Ipad, Dyson

Working out and traveling

I gave different purposes to everything I had

My name is Ruya Akyol, and I’ve always had a deep connection to design since I was young. Growing up in Istanbul, I was surrounded by rich historical influences and diverse cultural narratives. This environment naturally fostered my passion for creating. I studied Industrial Design at Istanbul Technical University and Politecnico di Milano, followed by a Master’s in Product Design at Domus Academy in Milan. My design journey has always been rooted in balancing artistic expression with functionality, and I was drawn to furniture design because of its unique intersection between aesthetics, craft, and practicality. It’s a space where I can explore how objects shape our daily lives and reflect our identities.

Ruya Akyol Studio was founded to bring my vision of design to life, merging creativity with practical functionality. Based in Milan, the studio works on a wide range of projects, from furniture design to spatial design and art direction. We specialize in bespoke furniture. Our philosophy revolves around the idea of designing pieces that can adapt to modern living while maintaining timeless aesthetic value. The studio’s approach is both experimental and rooted in tradition.

Design, to me, is a way of translating ideas into the tangible world. It is a problem-solving process that requires not just creativity but also an understanding of the needs and emotions of the people who will interact with the objects. Good design balances form and function, and it should be intuitive, empathetic, and reflective of the culture and context in which it exists. It’s about creating something that enhances daily life and connects people to their surroundings in meaningful ways.

I particularly enjoy designing furniture because it allows me to experiment with materials, proportions, and forms while serving a clear functional purpose. Furniture design is deeply personal and can tell a story, which is why it resonates with me. I love creating pieces that offer both beauty and utility, whether it’s a sofa that transforms a living room or a table that invites conversation.

One of my favorite pieces is the Baia Sofa, which embodies my philosophy of merging comfort with functionality. It’s not just a seating piece. It adapts to various uses, from relaxation to work. The simplicity of its design, combined with its multifunctionality, makes it a personal favorite. It represents my desire to create furniture that aligns with how we live today.

The first project I designed for a company was Plu Umbrella Holder for Hiro. This product reflects my style by being the most minimal yet functional version of its kind and still having my design language. It was an exciting challenge to translate my vision into a commercial product, and it taught me a lot about the balance between creativity and market demands. The project was successful, and it helped me solidify my direction as a designer.

I’m particularly passionate about textiles and natural materials like wood and stone. I love the authenticity of these materials each one tells a unique story. For textiles, I enjoy using handwoven fabrics, as they bring texture and warmth to my designs.

I feel most creative in the early stages of a project, when ideas are still raw and unformed. I find inspiration in everything around me. From a walk in nature to a visit to a museum or just browsing through books on design and architecture. The act of sketching and brainstorming freely without constraints is when my creativity flows most freely.

I tend to focus on both the functionality and the emotional resonance of a design. It’s important for me that each piece serves a clear purpose but also communicates a certain feeling or mood. I pay a lot of attention to proportions, the way materials interact with each other, and how the design will be experienced in the context of a person’s daily life.

When I design, I feel a mix of excitement and curiosity. Each project is a journey, and the process of solving problems and discovering new ideas keeps me engaged. It’s also a very meditative process for me and it’s about the focus and patience needed to bring something from concept to reality.

When my designs are realized, I feel a sense of fulfillment and pride. It’s incredibly rewarding to see something you’ve envisioned come to life in a physical form. There’s also a sense of relief and excitement, knowing that people will interact with and appreciate your work in their daily lives.

A successful design is one that fulfills its purpose while evoking an emotional connection with its user. It should be aesthetically pleasing but also practical and durable. The best designs are those that make an impact, whether through innovative functionality, emotional resonance, or by enhancing the environment in which they exist.

I first consider how well the design solves the problem it was created for. If it’s a functional piece, does it serve its purpose efficiently? After that, I evaluate the aesthetic quality. How the design feels, its proportions, material choices, and its ability to create an emotional response in the user.

Designers have a responsibility to consider the long-term impact of their work on both society and the environment. This includes choosing sustainable materials, reducing waste, and considering the social and cultural implications of design. We have the power to shape environments in ways that positively impact people’s well-being and the planet.

The design field is evolving to become more holistic and interdisciplinary. Designers are no longer just creating products; they’re creating experiences, environments, and solutions that consider sustainability, social responsibility, and technological advancements. The future of design lies in this intersection of innovation and empathy, where design responds to the needs of both people and the planet.

My last exhibition was at Salone Satellite during Milan Design Week 2025, where I presented my latest collection. It was an important moment for my studio, as it showcased my personal vision of living. I plan to continue showcasing my work at major design events, with a particular focus on creating more intimate exhibitions that allow for direct interaction with my designs and their stories.

My inspiration comes from a wide range of sources, but I often draw from my Turkish heritage, blending traditional craftsmanship and cultural symbols with modern design principles. I look at everything from the vibrant colors and patterns found in Turkish textiles to the ancient techniques of Ottoman architecture. Additionally, my travels around the world, and the ever-changing trends in contemporary design, serve as constant sources of inspiration. Creativity, for me, is fed by keeping a curious mind and immersing myself in different environments—whether that’s exploring nature, engaging in conversations with artisans, or simply observing everyday life.

My design style is a blend of modern minimalism with rich cultural references. I explore simplicity, but with a deep connection to craftsmanship and materiality. The main characteristics of my style are clean lines, thoughtful proportions, and the use of authentic materials. I’m passionate about creating pieces that evoke emotions and provide users with a sense of connection and comfort. My approach to design is intuitive and empathetic, always considering the function of an object while keeping it visually engaging and relatable to the user’s daily life. I often start with a conceptual idea, but the piece evolves as I engage with the materials and craftspeople.

I live between Milan and Istanbul, and I find that both cities contribute to my work in unique ways. Istanbul, with its blend of Mediterranean, Middle Eastern, and Asian influences, gives me access to a rich cultural heritage and a deep sense of history. The colorful patterns, textures, and craftsmanship from Turkish traditions often influence my designs, adding a unique, personal touch. However, the fast-paced nature of Istanbul can sometimes be overwhelming, while Milan provides a more calm, focused environment for design exploration and execution. Both places provide essential perspectives on craftsmanship, modernity, and culture.

I work both as Art Director and Product Designer and in both of the scenarios I stay in very close contact with them.

When working with a designer, it’s important for companies to clearly communicate their vision, but also to trust the designer’s expertise. A good designer understands both the creative and the practical aspects of product development, and they should be selected based on their ability to blend innovation with functionality. Companies should look for designers whose style resonates with their values, but who are also adaptable and open to collaboration. Successful partnerships are built on mutual respect and shared goals.

My design process begins with research—understanding the context, the material, and the user’s needs. From there, I sketch, experiment with concepts, and engage with artisans to understand how materials can be shaped and worked. I also incorporate digital tools, like 3D modeling software, but the physical interaction with materials remains essential. The process is iterative, with constant adjustments based on feedback from both collaborators and my own exploration. For me, design is a journey of discovery, and every step informs the next.

Baia Sofa - It’s the perfect mix of comfort and function. It adapts to modern life with its flexibility.

Vintage Turkish Rug - A traditional piece that adds warmth and color to my space.

Signe Armchair - The craftsmanship and the story behind it make it one of my favorites.

Handcrafted Wooden Coffee Table - The texture and warmth of the wood create a strong, natural presence in the room.

Sedi Pouf - I love the handwoven textile, which brings a touch of artisanal craft to my home.

A typical day starts early with a cup of coffee and a review of emails and the studio’s schedule. I spend a few hours working on designs—sketching, researching materials, and meeting with my team. Afternoons often involve visits to local workshops or meetings with collaborators, where we discuss production techniques and materials. In the evenings, I unwind by exploring design magazines or taking a walk for inspiration. My days are filled with a mix of creativity, collaboration, and reflection.

My advice for young designers is to stay true to your vision but be open to learning from others. It’s important to build a strong foundation by studying both design history and contemporary trends. Never stop experimenting, and always stay curious. Surround yourself with people who challenge and inspire you, and remember that success takes time—it’s a process of continuous growth. Above all, be patient with yourself and embrace failure as part of the learning process.

One of the positives is the freedom to express ideas through objects and create something that can impact people’s lives. Being able to work with talented collaborators and learning from others is incredibly rewarding. However, the challenges can be significant—the design process is often long and requires a lot of persistence. There’s also the pressure of meeting deadlines, staying true to your artistic vision while being commercially viable, and the responsibility of creating sustainable, meaningful work.

My golden rule in design is to always stay true to the purpose of the object. Every design must serve a function first, but it should also tell a story and resonate emotionally with the user. It should not just be a beautiful object, but one that enriches the user’s experience.

Creativity is essential, but so is the ability to solve problems practically. A designer must also have a deep understanding of materials, production processes, and how to balance form with function. Additionally, communication skills are crucial when working with teams and clients to translate ideas into a finished product.

I use a variety of tools—both traditional and digital. For sketching, I often start with pencil and paper, as it allows for a more fluid expression of ideas. For 3D modeling, I rely on software like Rhino. I also use Adobe creative tools for editing and presentations.

I manage my time by breaking the design process down into manageable steps and setting clear priorities. I always allow time for experimentation and refinement, but I also ensure that I stay focused on key milestones. Delegation is important as well, as I rely on my team to handle specific aspects of production, freeing me up to focus on the creative vision.

The timeline for designing an object can vary depending on the complexity and the inspiration of the project. For something like a sofa or a coffee table, it can take anywhere from from a month to 3 months for the concept and minimum on year for prototype and production. This includes the time spent on research, prototyping, and fine-tuning the final design.

The most frequently asked question I get is, “Where do you get your inspiration from?” People are always curious about the sources and experiences that drive my designs.

One of my most important experiences was working closely with Philippe Starck. It taught me the value of a clear, singular vision and how storytelling can elevate design. It was formative in shaping my approach to design and business.

I’ve had the privilege of working with a range of clients, including brands such as Hiro, Fromm., Lazzoni, and Ersa. I’ve also collaborated with smaller boutique brands and artisans, each project helping me expand my creative boundaries.

I enjoy furniture design the most because it allows me to work with a combination of aesthetics, functionality, and craftsmanship. Creating pieces that people interact with daily is both rewarding and challenging.

I’m excited to continue exploring new ways of combining traditional craftsmanship with modern design techniques. I plan to expand my collection, collaborate with new brands, and continue pushing the boundaries of sustainability in design.

I work with a team of talented designers, artisans, and engineers. While I lead the creative direction, I deeply value the collaborative nature of the studio. Each team member brings a unique perspective and than with my vision we create the final product.

I’m currently working on a few new pieces for the upcoming Milan Design Week. These pieces further explore the theme of modularity and adaptability, with a focus on creating furniture that can easily transition between different spaces and functions.

People can contact me via my studio’s website.

I’d like to emphasize the importance of sustainability in my design philosophy. As designers, we have the responsibility to make choices that not only meet our aesthetic goals but also contribute positively to the environment. This is something I strive to incorporate into every project, big or small.

The idea of integrating a workspace within the Baia Sofa emerged from my observation of how modern living spaces are evolving. People are increasingly blending their home and work environments, especially with the rise of remote working and more dynamic lifestyles. The challenge was to create a piece that didn’t just serve as a sofa but could also adapt to the new needs of the modern user. I wanted to design a piece that could seamlessly transition between relaxation and productivity, offering a workspace without compromising the comfort and aesthetic of the living area. The result is a piece that embodies the flexibility required for today’s dynamic living environments.

The curved form of the Baia Sofa was inspired by the need to create defined spaces within one piece of furniture. As living spaces become smaller, there’s a growing need for furniture that can serve multiple functions without cluttering the space. The lounge corner provides a sense of comfort and intimacy, while the upright seating area is perfect for tasks that require more attention, like working or reading. By combining both elements within a single form, I aimed to create a versatile piece that naturally guides the user’s experience based on their current needs, enhancing both comfort and functionality.

The artisanal oak details and zigzag joinery were inspired by traditional woodworking techniques, which emphasize the beauty of craftsmanship. I wanted to bring these time-honored methods into the context of contemporary furniture design. The challenge was to merge these techniques with modern aesthetics while ensuring the final piece was functional and sleek. The zigzag joinery not only adds visual interest but also strengthens the overall structure, creating a fusion of form and function. This combination of tradition and innovation is something I strive to achieve in all my designs, and the Baia Sofa is a perfect example of how traditional techniques can elevate modern design.

The Baia Sofa is designed to respond to the growing demand for multifunctional furniture in compact urban living spaces. As cities become more crowded and homes shrink in size, there’s an increasing need for furniture that can serve multiple purposes without compromising on design. Baia Sofa’s ability to seamlessly transform from a relaxing lounge area into a functional workspace reflects this shift in how we view our living environments. I believe it’s part of a larger movement towards designing furniture that’s not only beautiful but adaptable to our ever-changing needs in smaller, more dynamic spaces.

The integration of the desk element was a key challenge in the design process. The goal was to create a piece that maintains a clean, minimalist aesthetic while offering a functional workspace. To achieve this, I had to carefully consider the mechanics of the piece—the desk had to be easily accessible, but also discreet when not in use. The solution was to create a hidden desk that could slide out from the sofa when needed, maintaining the integrity of the design. This required precise engineering to ensure that the desk functioned smoothly and reliably without compromising the overall form of the piece.

My multicultural background has been instrumental in shaping the Baia Sofa’s design. Growing up in Istanbul, I was exposed to a blend of Eastern and Western influences, which led me to appreciate both intricate detailing and minimalist aesthetics. My time in Milan refined my sense of modern design, with an emphasis on clean lines, simplicity, and functionality. Working with renowned designers like Philippe Starck and Claudio Bellini further taught me how to balance innovation with timeless design principles. The Baia Sofa embodies this fusion of cultural richness and contemporary design, merging warmth and tradition with modern functionality.

When selecting materials for the Baia Sofa, I prioritized both visual elegance and comfort. The Italian upholstery was chosen for its quality and texture, which not only enhances the look of the sofa but also ensures a comfortable and durable seating experience. I wanted to create a piece that would not only look beautiful but also feel inviting. The choice of high-quality fabric adds a luxurious touch while maintaining functionality—it's soft to the touch, resilient, and easy to care for. It was important to me that every material used would complement the overall design, creating a cohesive and elegant look while offering lasting comfort.

The development of the Baia Sofa has been a journey of continuous learning. One of the unexpected discoveries was how much space optimization plays a role in modern design. The process of integrating a workspace into the sofa led me to explore new ways of using furniture to maximize efficiency in small living spaces. Another key insight was the importance of material choice—how the texture, color, and quality of materials can transform not just the visual impact of a piece, but also its tactile experience. These discoveries will undoubtedly influence my future designs, encouraging me to focus even more on adaptability, functionality, and user experience.

The Baia Sofa was designed with the evolving needs of modern living in mind, particularly with the rise of work-from-home trends. As people spend more time at home, the boundaries between work and personal life are becoming increasingly blurred. The sofa’s ability to transform into a workspace allows users to seamlessly transition between activities without leaving their living environment. I anticipate that this kind of adaptability will continue to be a major consideration in future furniture designs, as people seek pieces that can support multiple functions without compromising on comfort or style.

I hope the Baia Sofa encourages designers to push the boundaries of what furniture can do. It’s not just about creating pieces that look good, but about designing furniture that can adapt to the needs of contemporary life. By integrating a workspace into the sofa, I wanted to challenge traditional notions of what a sofa can be. I believe future designers will continue to innovate in this direction, creating multifunctional pieces that don’t sacrifice quality or craftsmanship. The Baia Sofa’s balance of form, function, and artisanal craftsmanship demonstrates that you don’t have to compromise on any one aspect to create a successful design.

The journey began with a deep appreciation for Mediterranean tile geometries, particularly the bold patterns and rich cultural significance they carry. I wanted to reinterpret these traditional patterns in a way that resonates with modern living. The key challenge was blending these ancient, intricate designs with the functional requirements of a coffee table. I experimented with geometry and modularity, distilling the essence of these tiles into geometric shapes that could form a cohesive and functional design. The final product is a celebration of history, transformed into a minimalist and contemporary piece that speaks to both heritage and modernity.

The recessed tops and hollow interiors were born from the desire to create a piece that felt substantial yet light, with a strong emphasis on material efficiency. By carving out spaces in the table’s structure, I was able to reduce material waste while maintaining an architectural aesthetic. These hollow spaces also provide functional value, offering storage solutions while contributing to the piece’s visual lightness. The design challenges conventional ideas of mass and void, creating an interplay between solidity and emptiness that feels dynamic and practical.

Ottoman art and Islamic geometric patterns are central to my work, offering a deep source of inspiration. These intricate designs are inherently modular, with repeating forms that lend themselves to structural and aesthetic adaptability. I drew on these principles to create a table that could be assembled in multiple configurations, with each piece acting as part of a greater whole. The geometric patterns, when adapted into a modular form, allowed for flexibility in design while maintaining harmony across the composition. The influence of these patterns is particularly evident in the way each individual element of the table fits together seamlessly, yet remains flexible.

The selection of four distinct Turkish marbles was a deliberate choice to honor the rich heritage of Turkish craftsmanship while creating a multi-layered aesthetic. Each marble was chosen not only for its beauty but also for its structural qualities. They provide contrast in texture and color, creating a visual dialogue between the pieces. These marbles enhance the table’s design by adding depth and richness, while their durability ensures that the piece remains functional and timeless. The combination of these marbles also speaks to the diversity and artistry found in traditional Turkish stoneworking.

The varying heights of the table components were carefully considered to create a harmonious balance between form and function. Each height serves a specific purpose: the lower height provides a grounded base, while the taller pieces offer a sense of elevation, creating a dynamic visual flow. This difference in height also enhances the table's versatility, allowing it to be used in various settings, from informal lounges to more formal spaces. The heights were chosen to ensure the design feels balanced and fluid, while also making it adaptable to different uses and contexts.

The puzzle-like aesthetic posed a significant challenge, as it required each piece to function both independently and as part of the larger whole. To overcome this, I focused on ensuring that each component was designed with both structural and visual integrity in mind. The pieces are meticulously crafted to fit together seamlessly, with no element feeling out of place. I worked closely with artisans to refine the proportions and connections, ensuring that each piece could be assembled without compromising the integrity of the design. The result is a table that feels cohesive and balanced, even while each component maintains its own identity.

My multicultural background plays a central role in the way I approach design, particularly with the Desen Coffee Table. The Italian influence brings a sense of minimalism and elegance, while Scandinavian design adds an emphasis on functionality and clean lines. Turkish design, with its rich history of geometric patterns, contributes complexity and a sense of cultural depth. The blending of these influences allowed me to create a piece that merges simplicity with intricate detail, balancing functionality with aesthetics. The geometric language of the table reflects this fusion, with each pattern and form representing the diverse cultural influences that shape my work.

I see the Desen Coffee Table as a step forward in the evolution of modular furniture. Its adaptability, coupled with its focus on materiality and craftsmanship, offers a new approach to how we think about modularity. The ability to reconfigure the table allows for a dynamic relationship between the user and the furniture, reflecting the changing needs of modern living. At Salone Satellite 2025, I hope this design will inspire other designers to explore the potential of modular pieces that offer both functionality and emotional resonance, creating a deeper connection between people and their environments.

Achieving a balance between tradition and innovation in the Desen Coffee Table was a conscious effort to bridge the past with the present. I began by studying traditional Turkish patterns and techniques, selecting elements that felt timeless and relevant to modern sensibilities. From there, I reinterpreted these forms in a way that respects the past while embracing contemporary materials and production techniques. The goal was to create a piece that feels both rooted in cultural history and relevant to today’s living spaces. The result is a design that honors tradition while speaking to the needs and aesthetics of contemporary life.

Winning the Silver A' Design Award for the Desen Coffee Table has been incredibly rewarding and has affirmed the importance of my approach to blending cultural heritage with contemporary design. It has encouraged me to continue exploring ways to marry these elements, pushing the boundaries of what is possible in furniture design. Going forward, I am inspired to develop more pieces that respect cultural craftsmanship while embracing modern technologies and design trends. The recognition has given me the confidence to explore even more ambitious projects that bridge the gap between the past and future, creating designs that are both meaningful and functional.