Hilal Ustun Caner

Specialized in Hospitality Design.

Hilal Ustun Caner

About Hilal Ustun Caner

Hilal Ustun Caner graduated from ITU in 2008 with a double major in Architecture and Landscape Architecture. Shortly after her graduation, she stepped into the world of design by collaborating with one of Walt Disney’s designers, Valerio Mazzoli, on Turkey’s first theme park, Landora. Following her coordination role at Vialand Theme Park, she went on to design Viasea Theme Park, leaving her mark on a series of successful projects. With over 17 years of experience, she continues her practice at Hucre Architecture, where she explores the intersection of design, narrative, and craftsmanship. As a storyteller, Hilal approaches design as a narrative, where every space carries its own voice, waiting to be revealed. For her, architecture is not just about shaping structures but about crafting experiences—immersive, emotional, and deeply connected to their users. She believes that spaces hold memories, emotions, and meaning, and her role is to translate these into tangible forms. Every project begins as a journey of discovery, where she carefully listens, observes, and interprets the unspoken layers of a place and its people. With a refined yet expressive architectural language, she curates materials, textures, light, and spatial flow to shape environments that feel both timeless and personal. Aesthetics and functionality are inseparable; a space must be visually striking yet intuitively fluid. True uniqueness lies in the details—craftsmanship, materiality, and the subtle interplay of light and shadow. Rather than following trends, she defines her own path, focusing on authenticity and lasting impact. For Hilal, architecture is not just about building—it is about storytelling, shaping spaces that evolve, breathe, and resonate with those who inhabit them.

  • Winner of the A' Design Award.
  • Specialized in Hospitality Design.
  • Original Design.
  • Creative, Diligent and Innovative.
  • All Designs
  • Hospitality
Belmondo Suites Stay and Savor

Belmondo Suites Stay and Savor

Hospitality Design

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Interview with Hilal Ustun Caner

Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
I’ve always believed that design isn’t just something we see—it’s something we feel and live with. Even as a child, I found myself imagining spaces, questioning forms, and reshaping the world around me. After primary school, I realized this instinct had a name: architecture. It wasn’t just a profession I chose later; it was something that had quietly chosen me from the very beginning.
Can you tell us more about your company / design studio?
Hucre Architecture is a boutique design studio based in Antalya. We focus on hospitality, private residences, and gastronomic venues, with a strong emphasis on atmosphere, emotion, and narrative.
What is "design" for you?
I believe design is the act of transforming emotion into space.
What kinds of works do you like designing most?
I’m drawn to projects that involve the transformation of forgotten spaces. Turning them into something that feels both timeless and deeply personal excites me.
What is your most favorite design, could you please tell more about it?
Belmondo Suites is one of my most meaningful projects. Located in Antalya’s historic Kaleiçi district, it’s a restoration of a centuries-old building into a boutique hotel. What makes it special is the way it balances heritage and intimacy—it doesn’t try to recreate the past, but gently reveals it. Every detail, material, and transition was designed to create an atmosphere of quiet elegance, where guests feel like they’ve stepped into a place suspended between time and memory.
What was the first thing you designed for a company?
It was the interior design of a boutique patisserie. I revived a very old shop by giving it a completely new identity. It was my first experience transforming not just a space, but also how people feel in it.
What is your favorite material / platform / technology?
I’m drawn to natural materials—wood, stone, linen—that age gracefully. I love hand sketching alongside AutoCAD and SketchUp for digital precision.
When do you feel the most creative?
When I’m alone, observing light move across a wall or walking through a silent place. Creativity often springs from slowness and stillness.
Which aspects of a design do you focus more during designing?
Atmosphere, flow, and light. I always ask: how will people feel here? What rhythm and memory will this space carry?
What kind of emotions do you feel when you design?
Design always begins with a feeling—a quiet connection between me and the space. The first time I step in, I don’t just look—I listen. It’s like meeting someone for the first time and sensing that you’ll write a long story together. There’s a rush of curiosity, a childlike excitement, and a deep responsibility. I often feel both grounded and elevated at once—fully present, yet dreaming. Designing is never just a job for me. It’s a relationship I enter with care, instinct, and respect.
What kind of emotions do you feel when your designs are realized?
There’s a moment—usually quiet, almost unnoticed—when a project comes to life and everything aligns. It’s not the applause or the opening night that moves me most. It’s the glance of the owner who sees their dream made real. That’s when I feel a deep, fulfilling pride. The kind that comes from overcoming countless challenges, from staying true to the story, and from knowing that every detail, every sacrifice, every sleepless night meant something. It’s not loud. It’s not dramatic. It’s just… right.
What makes a design successful?
It must leave a trace and inspire. A successful design quietly touches people and stays with them—it doesn’t fade, it resonates.
When judging a design as good or bad, which aspects do you consider first?
First, I ask: is there a real idea behind it? Then I ask: does it make me feel something? A good design doesn’t explain itself—it connects.
From your point of view, what are the responsibilities of a designer for society and environment?
Designers must craft spaces that heal, include, and respect their surroundings. We owe empathy, sustainable materials, and cultural awareness.
How do you think the "design field" is evolving? What is the future of design?
It’s shifting from form to experience—toward sustainability, slow design, and emotional intelligence. Novelty gives way to authenticity.
Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
From silence, nature, shadows, ruins, and poetry. I travel slowly, read widely, and always observe without rush.
How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
My style is calm, layered, and timeless. I don’t design to impress—I design to make people feel.
Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
I live in Antalya, Turkey—a city shaped by many civilizations. Its rich history and layered textures have taught me to design with respect for context, time, and memory.
How do you work with companies?
Through deep listening and partnership. I seek clients who value trust, shared vision, and a process guided by meaning rather than mere performance.
What are your suggestions to companies for working with a designer? How can companies select a good designer?
Choose someone who listens. A good designer is not just someone with style, but someone with sensitivity. Look for those who ask the right questions, who understand your story, and who design not just for you—but with you.
Can you talk a little about your design process?
It always begins with listening—first to the place, then to the people. I observe, I sketch, I ask questions. Then I shape a concept that feels true to the context. From there, I work through materials, light, rhythm, and emotional flow. Every project is a dialogue between memory and possibility.
What are 5 of your favorite design items at home?
My coffee table, liquor cabinet, bookshelf, wall clock, and armchair. Each one reflects my relationship with time, rest, and the quiet joy of everyday rituals.
Can you describe a day in your life?
My mornings begin in silence—with coffee and a podcast. Studio hours are a blend of meetings, site visits, and focused design work. Evenings slow down with family time, reading, or a walk by the sea.
Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
Design with soul. First learn to see, then create. Observe more than you speak, question more than you conclude, and value presence over perfection.
From your perspective, what would you say are some positives and negatives of being a designer?
Positive: shaping environments that touch lives. Negative: emotional intensity—because each detay carries sizin özünüz.
What skills are most important for a designer?
Sensitivity, curiosity, patience, discipline and the courage to question.
Designing can sometimes be a really time consuming task, how do you manage your time?
I manage my time by respecting the rhythm of each project. Some days require deep focus, others need space to pause and observe. I don’t rush the process—because good design takes time, and I allow it to.
How long does it take to design an object from beginning to end?
It depends on the depth of the story. Some designs come together quickly, others take time to reveal themselves. I let the project set its own pace.
What is the most frequently asked question to you, as a designer?
“How do you create spaces that feel both dynamic and deeply calm at the same time?” My answer is: I design with emotion and intention—not with decoration. I strip away the noise until only what matters remains.
What was your most important job experience?
Becoming the lead architect of Turkey’s first theme park was a turning point in my career. It taught me how to imagine at scale, design for emotion, and manage highly complex processes without losing the soul of the space.
Who are some of your clients?
Boutique hotel owners, private villa clients, and operators of restaurants, bistros, and cafés who value atmosphere, identity, and thoughtful design.
What type of design work do you enjoy the most and why?
Hospitality design—because it allows me to craft immersive, multisensory atmospheres that stay with people.
What are your future plans? What is next for you?
I plan to continue exploring narrative-driven architecture and expanding into cross-disciplinary collaborations. I’m also working on sharing more of my design stories with a wider audience, beyond just built spaces.
Do you work as a team, or do you develop your designs yourself?
I begin concepts solo—sketching and research—but realize them with a skilled team. Soul emerges in solitude; form in collaboration.
Do you have any works-in-progress being designed that you would like to talk about?
Yes—I’m currently designing a boutique gastronomic venue on the Mediterranean coast. It’s a place where natural textures, light, and open-air living come together to create a calm, refined atmosphere.
How can people contact you?
Website: www.hucre.co Email: info@hucre.co Instagram: @hucremimarlik
Any other things you would like to cover that have not been covered in these questions?
I want people to know that for me, design is not about perfection—it’s about presence. Every space I create comes from deep listening, careful observation, and a desire to make something meaningful, not just beautiful. I believe design should make people feel something real. And if my work has ever touched your heart, even in silence, then that is my greatest reward.

Designer of the Day Interview with Hilal Ustun Caner

Could you please tell us about your experience as a designer, artist, architect or creator?
I’ve been practicing design professionally for over 15 years. My academic background is in architecture and landscape architecture, and I’ve worked across various scales—from Turkey’s first theme park to intimate boutique hotels. I founded Hücre Mimarlık to create spaces that are not only functional but emotionally resonant. My clients range from private villa owners to boutique hoteliers and restaurateurs who value context, atmosphere, and storytelling.
How did you become a designer?
Even as a child, I was aware of how colors, textures, scents, and spaces affect our emotions. This early sensitivity slowly evolved into a desire to research, question, and create. That curiosity led me to study architecture and landscape architecture, which became the foundation of my professional path. Right after graduation, working on Turkey’s first theme park was a turning point. It was the first time I witnessed how imagination could turn into reality. Since then, my design journey has been shaped by curiosity, storytelling, and a passion for creating spaces that connect deeply with people.
What are your priorities, technique and style when designing?
For me, design begins with listening—first to the site, then to the story behind it. I prioritize atmosphere, flow, and emotion. I sketch a lot during the early phases, letting instinct guide the concept. Then I build layers with material, light, and rhythm. Every detail matters, but only if it serves the whole. I believe in designing spaces that feel lived-in, calm, and timeless—not overly styled, but deeply thoughtful.
Which emotions do you feel when designing?
Designing awakens a special kind of excitement in me—quiet but intense. Each project feels like the beginning of a new story. I feel curious, focused, and deeply connected. There’s also a sense of responsibility: to honor the place, to stay true to the essence, and to create something meaningful for those who will experience it.
What particular aspects of your background shaped you as a designer?
Growing up with a strong sensitivity to spaces, colors, textures, and even scents shaped how I perceive the world. My architectural education gave me structure, but my curiosity and emotional awareness gave me depth. Having worked across a wide range of scales and concepts—from theme parks to boutique hotels—allowed me to develop a versatile design language that adapts without losing its soul.
What is your growth path? What are your future plans? What is your dream design project?
“Design less to impress, more to connect.” I believe good design doesn’t need to shout—it should quietly touch people, make them pause, and feel something genuine. For me, that’s enough.
What are your advices to designers who are at the beginning of their career?
Don’t rush. Let your design language mature with time and experience. Listen more than you speak, observe more than you produce. Never be afraid to ask questions or to challenge your own assumptions. And most importantly—stay curious, stay kind, and never stop learning.
You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?
I’m not here to give advice, but I believe being curious, open-minded, and always questioning has shaped my path. Every project is a new excitement—a space for learning and transformation.
What is your day to day look like?
My mornings begin with calm—coffee and silence, sometimes accompanied by a podcast. Then the day moves between site visits, client meetings, and focused studio work. I always try to leave time for observation and reflection, no matter how busy the day gets. Evenings are usually quieter, spent with family or a book.
How do you keep up with latest design trends? To what extent do design trends matter?
I follow design trends with curiosity but not as a guide. I believe timeless design has more value than what’s popular at the moment. Trends can offer inspiration, but they shouldn’t shape the essence of a space. I always prioritize context, atmosphere, and human connection over trend-driven aesthetics.
How do you know if a product or project is well designed? How do you define good design?
A good design is one that feels effortless yet thoughtful. It doesn’t seek attention but earns it through balance, purpose, and clarity. For me, it’s about how it makes you feel—does it invite you in, does it make sense without needing to explain itself? That quiet confidence is the mark of good design.
How do you decide if your design is ready?
There’s rarely a dramatic “now it’s done” moment. It’s more like a quiet knowing. When the space starts speaking its own language—when nothing feels missing or forced—that’s when I know it’s ready. Sometimes, stopping at the right moment is the most difficult part. But intuition guides me.
What is your biggest design work?
Belmondo Suites, located in Antalya’s historic old town, is one of the most meaningful projects I’ve ever created. It was not only about transforming a space, but about carefully revealing layers of history, memory, and emotion. Designing for such a sensitive urban context challenged me to balance respect with innovation. It’s a project where every detail was guided by the spirit of the place.
Who is your favourite designer?
I’ve always been inspired by designers who work with silence—those who don’t just build structures, but craft atmospheres. Tadao Ando’s ability to shape light and emptiness, Peter Zumthor’s sensitivity to material and memory, and Carlo Scarpa’s poetic layering of detail—all of them remind me that architecture is not about impressing, but about evoking. I’m drawn to those who design with restraint, who know that what’s left unsaid can be just as powerful as what’s shown.
Would you tell us a bit about your lifestyle and culture?
I live and work in Antalya, a city where nature, history, and everyday life coexist. My lifestyle is slow, intentional, and close to the senses. I believe design isn’t something separate from life—it grows out of it. My culture has taught me the value of layering, rhythm, and emotion in space. These elements shape how I design, and how I live.
Would you tell us more about your work culture and business philosophy?
I design with emotion, but I don’t let emotion overwhelm the space. I listen deeply—to people, to places, to what’s unspoken. My strength lies in creating calm, layered spaces that feel intuitive and personal. I don’t chase trends. I follow stories, senses, and silence.
What are your philanthropic contributions to society as a designer, artist and architect?
I believe in sharing knowledge as one of the most meaningful forms of contribution. I mentor young designers and speak at local design gatherings to make creative thinking more accessible.
What positive experiences you had when you attend the A’ Design Award?
Attending the A’ Design Award was a meaningful milestone for me. It gave international visibility to a project that was deeply rooted in history, context, and emotion.

Extended Interview with Hilal Ustun Caner

Could you please tell us about your experience as a designer, artist, architect or creator?
I graduated from Istanbul Technical University in 2008 with a double major in Architecture and Landscape Architecture. My journey into design began with a unique opportunity to collaborate with Valerio Mazzoli—one of Walt Disney’s designers—on Turkey’s first theme park project. Since then, I’ve led and contributed to numerous large-scale and boutique architectural projects, always focusing on storytelling through space, materiality, and experience.
How did you become a designer?
For me, design is a way of revealing the soul of a place. I became a designer because I’ve always been drawn to stories—those hidden in buildings, landscapes, and human emotions. Designing allows me to listen, interpret, and translate these invisible layers into spaces that feel meaningful and alive. What motivates me is the transformative power of design—its ability to evoke memory, emotion, and connection in a silent yet profound way.
What are your priorities, technique and style when designing?
Design was never a forced path for me—it was a calling. Even before I knew the term “architecture,” I was observing spaces, drawing details, and imagining worlds. Choosing design felt as natural as breathing. It wasn’t about career pressure; it was about listening to an inner voice that always led me towards creating, shaping, and telling stories through space
Which emotions do you feel when designing?
I primarily design high-end hospitality and residential spaces—hotels, restaurants, private villas, and luxury apartments. My work focuses on creating emotionally resonant environments where architecture, interior design, and landscape come together as a unified narrative. In the future, I would love to design more story-driven, context-aware spaces that are deeply rooted in culture, material authenticity, and the spirit of place.
What particular aspects of your background shaped you as a designer?
Stay curious, stay humble, and never stop learning. Design is not just about creating beautiful things—it’s about listening deeply, observing closely, and translating emotions and context into form. Young designers should explore widely, embrace mistakes, and develop their own voice rather than following trends. Most importantly, they should design with intention—every line drawn should carry meaning.
What is your growth path? What are your future plans? What is your dream design project?
A good designer solves problems. A great designer reveals unseen layers—of emotion, memory, and meaning. While good design meets expectations, great design transcends them. What sets great designers apart is their ability to listen deeply, to design with empathy, and to create spaces that resonate long after the user leaves. It’s not just about how something looks, but how it feels and lingers in the mind.
What are your advices to designers who are at the beginning of their career?
A really good design is not only functional and aesthetically pleasing—it’s emotionally intelligent. It responds to its context, respects its users, and tells a story without speaking. I evaluate good design through its ability to create atmosphere, evoke feeling, and offer a sense of belonging. When a space feels inevitable—as if it could not have been designed any other way—that’s when I know it’s truly good design.
You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?
Good design enhances life—it improves functionality, elevates aesthetics, and creates emotional connections. It brings clarity to complexity and meaning to the ordinary. Investing in good design is not a luxury; it’s a long-term value. It fosters well-being, reflects identity, and creates environments that people truly want to be in. Good design doesn’t just look good—it performs, endures, and inspires.
What is your day to day look like?
If I had the time, I would design a sanctuary—a timeless, nature-integrated retreat that reconnects people with silence, light, and slowness. Not for a client, but for the collective soul—for those who need to pause, reflect, and breathe. A space where design disappears into serenity, and where architecture becomes a gentle companion to inner stillness.
How do you keep up with latest design trends? To what extent do design trends matter?
My dream project is to create a design-focused cultural retreat—a place where architecture, art, nature, and slowness coexist. A space for dialogue, learning, and inner transformation, open to creatives from around the world. Not just a building, but an experience that fosters depth, silence, and reconnection—with the self, with others, and with the land.
How do you know if a product or project is well designed? How do you define good design?
My secret ingredient is intuition—refined through years of observation, listening, and emotional attunement. I trust the process, respect the context, and let spaces speak before I shape them. I believe that design is not only about knowledge, but about sensing what cannot be seen—what the soul of a place wants to become. That quiet dialogue is where the magic happens.
How do you decide if your design is ready?
I’m deeply inspired by masters who design with emotion and narrative. Tadao Ando for his poetic minimalism and spiritual spatiality. Carlo Scarpa for his craftsmanship, material sensitivity, and layers of meaning. Peter Zumthor for designing spaces that you don’t just see, but feel. And Zaha Hadid—for her fearless vision and her ability to bend form into emotion. I also draw inspiration from musicians, poets, and nature—because design is never isolated.
What is your biggest design work?
One of my favorite designs is the Church of the Light by Tadao Ando—it’s a masterclass in restraint, light, and spirituality. I also admire Carlo Scarpa’s Brion Cemetery for its exquisite detail, symbolism, and the way it choreographs movement and emotion. Peter Zumthor’s Therme Vals is another favorite; the architecture disappears into the mountain, becoming part of the landscape and memory. These works move me because they don’t just occupy space—they evoke silence, awe, and timelessness.
Who is your favourite designer?
One of my most meaningful works is Belmondo Suites, a boutique hotel set in the historic fabric of Antalya’s old town. What makes this project special is how it balances heritage and contemporary life—it preserves memory while creating a new atmosphere for experience. Every material was chosen for its story, every volume shaped to respect the past yet embrace the present. I believe it’s great not because it’s complex, but because it feels inevitable—quiet, honest, and emotionally grounded.
Would you tell us a bit about your lifestyle and culture?
To become a better designer, you must first become a better observer. I learned to read spaces, emotions, and atmospheres—beyond what is visible. I traveled, sketched endlessly, studied history, and remained curious about everything from poetry to urban decay. Design is not just about skill; it’s about perspective. You grow by listening deeply, staying humble, and allowing time to refine your voice. I still consider myself a learner—that mindset is the key to growth.
Would you tell us more about your work culture and business philosophy?
If I hadn’t become a designer, I would probably be a writer or a poet. I’ve always been drawn to the rhythm of words, to storytelling, to the quiet power of language. Design and writing aren’t so different to me—they both shape atmosphere, evoke emotion, and give form to the invisible. Whether with space or with words, I’ve always felt the need to create something that lingers in the soul.
What are your philanthropic contributions to society as a designer, artist and architect?
For me, design is the art of revealing the invisible. It’s not just about form or function—it’s about meaning. Design listens before it speaks. It senses, responds, and gently shapes the way we live, feel, and remember. A good design doesn't impose itself; it resonates. It’s a dialogue between space and soul, between intention and emotion.
What positive experiences you had when you attend the A’ Design Award?
My greatest supporters have been my husband and my daughter—they are my anchor and my inspiration. At the same time, I’m deeply grateful to my team at the studio; their dedication, talent, and belief in what we create together have carried our work forward. And I must thank the version of myself who still gets excited like a child while designing—that inner Hilal has never let go of wonder, and she’s the reason I’m still here.

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