Interviews met Ozhan Hazirlar

I have worked in interior architecture for over twenty years, leading my own İstanbul-based studio, Ozhan Hazirlar Architecture. I design residential, commercial and hospitality spaces worldwide, including across the Gulf — from a 1,100 m² private residence in Kuwait City to award-winning hospitality venues in İstanbul. My work has been recognized internationally, including the Iron A' Design Award (2018) and the Bronze A' Design Award (2024), as well as the European Property Awards, Luxury Lifestyle Awards and BUILD Architecture Awards.

I think I was a designer before I knew the word. I grew up partly in a former French military headquarters — a high-ceilinged stone building with arches and Roman columns in the garden — and that architecture shaped me without my noticing. As a small child I was drawing in three dimensions and building endlessly with Lego; on long drives I would look at the landscape and imagine building cities into it. Later, three months working with a furniture master taught me the principle that still drives me: do a job fully, or not at all. It was never really a decision — it was an internal pull toward making and shaping space.

Three things lead every project: material honesty, light, and craftsmanship. I work from a single strong idea and carry it through every detail. I rely heavily on 3D visualization to test atmosphere and proportion before anything is built, but the decisions are always grounded in real materials — timber, natural stone, a restrained palette. I approach a new project by first understanding the place and the people who will use it, then finding the one organizing idea the whole design can grow from.

The most exciting moment is the very beginning — when a single idea appears and I can suddenly see the whole space in my mind. There is real joy in the journey of detailing too, but nothing matches walking through the finished space and feeling that the original intent survived intact. Designing fulfils me because it turns something imagined into something people actually live inside.

My most valuable skills were never purely about design. Growing up I earned money in small ways, did other people's drawing assignments, worked with my hands beside a craftsman — and that gave me discipline, resourcefulness and respect for how things are actually made. Patience and the ability to see a project through, on site, to the last detail matter more than any software. The biggest influence on my work wasn't a famous designer; it was that early lesson from a master craftsman about never leaving a job half-done.

My most valuable skills were never purely about design. Growing up I earned money in small ways, did other people's drawing assignments, worked with my hands beside a craftsman — and that gave me discipline, resourcefulness and respect for how things are actually made. Patience and the ability to see a project through, on site, to the last detail matter more than any software. The biggest influence on my work wasn't a famous designer; it was that early lesson from a master craftsman about never leaving a job half-done.

Be patient, and learn how things are really built — not just how they look on screen. Spend time on site. The trouble I see young designers fall into is rushing to a beautiful render before they understand the material, the budget and the craft behind it. The best advice I ever absorbed was simple: do a job fully, or not at all. Grow your expertise by making real things and watching them get built.

Commit to one strong idea and protect it through every stage. The most common mistake among capable designers is diluting a clear concept with too many influences until nothing leads. Respect the craftsmen who realize your work — they will make or break the detail. And never separate the design from how it will be supervised and built; the gap between the drawing and the finished space is where most projects are won or lost.

My day moves between the studio and the site. I start by reviewing where projects stand, then move into design and detailing, and whenever a project is in construction, time on site is the priority. The small thing that still makes me happy is the moment a drawn detail becomes a real, physical junction in front of me — seeing an idea take material form never gets old.

I follow what is happening in design, but I don't chase seasons. I'd rather develop a space that is purely its own and still feels right in twenty years than one that looks current for a single one. My inspiration comes more from material, light and the place itself than from trend feeds. Trends are worth knowing — but only so you can decide, consciously, what to leave out.

Good design, to me, is honest and enduring. The "aha" moment is when a space feels inevitable — as if it could not have been any other way — and when the materials, light and proportions all serve one clear idea. The common mistake is decoration without purpose. If every element earns its place and the space still feels calm and whole, that's good design.

A design is ready when nothing more can be removed without weakening it — not when nothing more can be added. There is always a way to keep improving, so the discipline is knowing when the core idea is fully expressed and the detailing is honest. At that point I let it go and move on, though I always carry lessons from each project into the next.

One of the works I'm proudest of is BİGET Steak & Co, a 2,200 m² steakhouse in İstanbul that won the Iron A' Design Award in 2018. I built the entire concept from a single inspiration — the lines of the grill — carried into timber lattice ceilings, natural stone, a vertical garden and a celebrated open service kitchen. Its challenge was integrating that open kitchen and real greenery into a robust hospitality interior without losing calm. It's special because it proves what one disciplined idea, fully executed, can become.

My deepest admiration goes to the master craftsmen who taught me that how a thing is made matters as much as how it looks — the furniture master I worked beside as a young man shaped me more than any celebrity designer. Among designers, I most admire those who let material and light lead rather than ego.

İstanbul is home and a constant source of inspiration — a city where many cultures and eras sit side by side. My roots in Hatay, a place layered with history, taught me early that architecture carries memory. I believe good design quietly improves daily life: how light falls in a room, how a material feels under your hand. Those small, considered decisions are, to me, how design serves society.

I lead the studio end to end — concept, 3D visualization, technical detailing and on-site supervision — so the original intent survives to the finished space. I look for the same things in collaborators that I demand of myself: care for detail and the willingness to finish a job fully. The core challenge of this profession is protecting the design idea all the way to construction. A good designer needs patience, discipline and genuine respect for craft.

I believe designers should give back through their knowledge. In 2026 I spoke at the ArchiTalks conference at Kocaeli University's Faculty of Architecture about the interior architecture of fitness spaces, sharing experience with students and young designers. I've also supported charitable causes, including a fundraising event for children with leukaemia. Sharing what we've learned with the next generation is, to me, part of the responsibility of the profession.

Taking part in the A' Design Award gave my work international recognition and a global standard to measure it against. Three real benefits of design competitions: independent validation of your work, exposure to press and clients worldwide, and the discipline of presenting your ideas clearly. They matter because they push you to articulate why a design is good — not just feel it. Being recognized as Designer of the Day is a genuine honour and a wonderful encouragement to keep raising the standard.

Since my childhood, I have enjoyed dreaming and visualizing. Whenever I was somewhere, I would think about how to design it to be more aesthetic and functional. My passion and imagination led people to label me as a “dreamer”.

Operating as Ozhan Hazirlar Architecture for 24 years, we have been active in the architectural and interior design sector. During this time, we have completed more than 150 projects.

Design, for me, is about creating something new, altering the existing, and beautifying it.

I enjoy designing commercial projects, especially the furniture within these projects.

I love them all.

In my second year of university, in 2000, I designed two buildings and a shopping mall.

I prefer natural materials such as marble, wood, and stone.

I usually feel most creative at night.

I first focus on functionality, then work on aesthetics and the ambiance of the space.

I feel great joy while designing and enjoy brainstorming.

I take great satisfaction from seeing my designs come to life. I love seeing people live and spend time in the spaces I design.

The correct combination of functionality, aesthetics, material choice, and ambiance makes a design successful.

I always respect finished work and evaluate design based on its adherence to its core function.

I believe a designer should continually improve themselves and positively impact society and the environment. As designers, we should strive to make people visually, aurally, and tactilely happy.

Design evolves alongside life. Humanity’s progress will advance with design, science, sustainability, and respect for nature. I believe design will become even more critical in the future.

I recently worked on an office project. There is no specific date for my next project, but I am ready to engage with new projects.

My design inspiration often comes from nature, my travel experiences, and different cultures. I constantly seek to discover new things, visit art exhibitions, and read books to nurture my creativity.

I can describe my design style as minimalist and functional. My exploration of this style stems from my understanding of the power of simplicity and functionality. I approach design to solve problems and improve the user experience.

I currently live in Istanbul. The country’s rich cultural heritage inspires my designs and sometimes shapes them. One of the benefits of living in Turkey is the richness derived from the convergence of various cultures. However, balancing local expectations with international trends can be challenging.

We work closely with companies, considering it an important step to understand customer needs and expectations.

When selecting a good designer, companies should focus on experience, portfolio, and compatibility. Additionally, communication and understanding are critical for a long-term collaboration.

My design process usually includes problem identification, research, design stage, feedback gathering, and final refinement stages.

Personally, my favorite design elements at home include minimalist furniture, decorative objects made from natural materials, and lighting products.

I usually start my day with planning and research. Then, I spend a day filled with various activities such as client meetings, design work, and collaboration discussions.

I encourage young designers to continuously learn and be curious. They should also focus on building a portfolio and networking.

The positives of being a designer include creative freedom, innovation, and the satisfaction of realizing projects. However, one can also face challenges such as a hectic workload and client expectations.

In design, my “golden rule” is to be user-focused. It is important to always prioritize user needs and expectations.

Important skills for a good designer include problem-solving ability, creativity, communication skills, and technical knowledge.

During the design process, I typically use CAD software, hand drawings, prototypes, and internet research, among other tools.

Time management involves prioritizing and planning tasks, as well as monitoring their progress.

The design process of an object can vary from start to finish, but typically takes several weeks to several months.

Our clients often ask about budget, timeline, and the progress of the project.

Every project is important to me, but projects that impact users and contribute to the community are particularly meaningful.

The customer profile usually includes commercial companies, restaurants, hotels, and private homeowners.

I love commercial projects and interior design because they offer many opportunities to shape the user experience.

In the future, I want to focus on larger and more diverse projects, as well as projects that embrace sustainable design principles to reduce environmental impact.

I enjoy both working within a team and designing individually. Teamwork allows us to bring together different perspectives for richer and more successful results, while individual work encourages freedom and creativity.

We currently have several ongoing projects that have not yet been completed. A topic I would like to discuss is the impact of design on sustainability and future trends.

People can usually reach me through my website or social media accounts. My contact information can be found on my website.

It could be interesting to discuss how design affects human life and how it might shape the future. Additionally, emphasizing the importance of diversity and equality in the design world is crucial.