Interview with Belis Memik

Belis Memik ("BM") interviewed on Wednesday, 28 May.

Could you please tell us about your experience as a designer, artist, architect or creator?

BM : I’ve been working professionally in the design and architecture field since 2016, after completing my studies at Central Saint Martins and University of the Arts London, where I focused on Industrial Design, Spatial Design, and earned my BA in Architecture. Since then, I’ve had the opportunity to work across a range of sectors from boutique residential projects to industrial-scale offices, always guided by a deep commitment to emotionally intelligent, human-centered, and nature-connected design. One of my most meaningful projects to date has been Eurobump Unfold, a multifunctional workspace within a car part factory, where I transformed a rigid industrial space into a flexible, story-driven environment. Beyond architecture, I also work in creative direction, blending design with storytelling, movement, and atmosphere to create experiences rather than just spaces. My studio practice is grounded in empathy, research, and the belief that design is a powerful tool for transformation both emotional and spatial.

How did you become a designer?

BM : Becoming a designer was never a calculated decision, it was something that naturally unfolded. From a very young age, I was drawn to movement, art, music, and creating things with my hands. I was always in dance classes, sketching, shaping spaces in my mind, or rearranging objects to feel “right.” Design, for me, was never about appearance but it was about feeling. There wasn’t a single person who pushed me into design, it was more of an internal drive to create spaces and experiences that could touch people, offer comfort, and hold stories. I was always aware of how environments affect emotions, and I knew I wanted to use that sensitivity to do good, to make people feel understood through space. That path led me to study at Central Saint Martins and University of the Arts London, where I explored Industrial Design, Spatial Design, and finally completed my BA in Architecture. After graduating in 2017, I started working professionally but I quickly realized I wanted to design beyond function, and instead focus on emotionally intelligent, story-driven spaces that support well-being and connection. Design became my language. It’s how I express what words can’t and how I quietly try to change the world around me.

What are your priorities, technique and style when designing?

BM : There are three core priorities I always carry into every project: 1.Listening deeply — to the user, the space, and the emotion behind the brief. 2.Storytelling — every design must hold a narrative that people can feel, not just see. 3.Empathy-driven functionality — the space should serve people emotionally and physically without forcing them into rigid behavior. I always begin with listening, observation and reflection. Whether it’s an interior, an installation, or a creative direction piece, I try to sense the unseen first and what the client or context is trying to say but can’t yet express. I use both hands and digital tools in my process. I sketch, write, build small mock-ups when needed, and then develop the concept further using CAD, SketchUp, V-Ray, and Adobe Suite for visuals. But even with technology, I never let it dictate the soul of the design, it simply helps me communicate it. A calm, natural, minimal aesthetic runs through my work, often softened with art, plants, and textures that bring life and movement. I don’t chase trends, I design for emotional longevity.

Which emotions do you feel when designing?

BM : When I’m designing, I feel all emotions that are pure and aligned with my heart. There’s a sense of presence, a deep connection to something beyond logic and that’s what makes the process so fulfilling for me. The most exciting phase is often the beginning, when the idea is just forming; fragile, intuitive, and full of possibility. Creating moodboards to reflect the feeling you want to achieve is also my favorite part I would say. But I also love the unfolding journey, where the concept takes shape through layers of decisions, challenges, and discoveries. Designing gives me a feeling of clarity, purpose, and joy. It’s like translating emotion into form. I love the quiet moments when something just “clicks,” and I realize I’ve created a space or experience that will touch someone, even in a subtle way. That’s where the real pleasure lies - in knowing the design has meaning, and not just function.

What particular aspects of your background shaped you as a designer?

BM : Many of the qualities that shaped me as a designer have nothing to do with technical design skills. I would say the most important ones are: •Empathy — I’ve always been highly sensitive to energy, people, and spaces. This helps me listen deeply and create designs that respond not just to needs, but to emotions. •Observation — I notice subtle details others often overlook — body language, light shifts, atmosphere — and that awareness finds its way into how I shape space and experience. •Intuition and storytelling — My ability to feel and imagine deeply has helped me create spaces that hold layers of meaning and feeling, not just function. My background in dance, music, and movement also plays a big role. These practices taught me how to feel rhythm, flow, and tension, which directly inform how I compose space. The biggest influence on my design work has been life itself I would say; nature, people I’ve met, places I’ve lived, and the emotional landscapes I’ve traveled through. My journey has been about learning to trust my sensitivity as a strength, and shaping a design language that is honest, quiet, and human.

What is your growth path? What are your future plans? What is your dream design project?

BM : My growth path is about deepening, not expanding for the sake of scale. I want to keep creating spaces and experiences that are emotionally intelligent, intuitive, and connected to nature. Whether it’s through architecture, creative direction, or installations, my focus is on impact over noise and work that truly touches people, changes their views or perception about something or just leaves them with a different view. I’m now moving my studio to Copenhagen, where I believe my way of designing — slow, meaningful, and conscious — will be more valued. I hope to collaborate with people and brands who care about story, sustainability, and soul. My dream design project is to create a retreat space in nature, a place where people can reconnect with themselves through environment, silence, and beauty. I also dream of working on public installations or street interventions that challenge how we relate to space emotionally, not just visually. In the future, I want to be remembered as a designer who designed with feeling. Someone who helped people see differently, breathe differently, and feel at home in the spaces around them. I want to show and remind people that we spend over 80% of our lives under a roof and the spaces we live in shape our entire emotional reality. You feel in a way in a space and yet most people don’t realize why they are feeling in that way in that space...

What are your advices to designers who are at the beginning of their career?

BM : My biggest advice is: don’t lose your truth trying to fit in. In the early years, it’s easy to get caught up in what’s trending or what clients expect but your strength lies in what only you can see and feel. Also, be patient. Success is not a straight line. I’ve made mistakes, even lost money on projects but each experience shaped me. Don’t rush the process; take the time to understand yourself and what you really want to say through your work. Learn to observe deeply, not just aesthetically but emotionally. How spaces affect people, what’s missing, what could be felt more. Stay curious. Ask questions. Talk to people outside your field. Read. Travel. Be open to learning from everyone! Even a stranger on the street can teach you something about space and energy. One of the best pieces of advice I received was: “Don’t design for approval. Design with presence.” That changed everything for me. And finally and most importantly; trust your intuition. The design world is loud, but your inner compass knows the way.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

BM : Stay honest in your process with yourself, with your clients, and with your intention. It’s easy to fall into patterns of designing for trends, approval, or aesthetics alone, but true success comes when your work is anchored in meaning and aligned with your values. One of the most important things I’ve learned is that how you listen matters as much as how you create. Whether it’s a client brief or a material you’re working with, listen to the essence behind it not just the surface. Avoid over-designing. Let spaces breathe. Let your concept rest and evolve before rushing to finalize it. Simplicity, when done with depth, can speak louder than complexity. And remember: your energy is felt in your work. If you are disconnected, overworked, or chasing something that doesn’t align with you, the design will reflect that. Take care of your inner world because that’s where your true design power comes from. Lastly, don’t be afraid to challenge systems, ask better questions, and design to shift perspectives. The world doesn’t need more noise - it needs designers who dare to create meaning.

What is your day to day look like?

BM : I start every morning early, usually around 6:00 AM. I begin with a glass of lemon water, some movement and sometimes a short workout, sometimes a long walk and just to wake up my body and clear my mind. By 8:45, I’m at my laptop and ready to dive into work. Mornings are when I handle the more structured tasks like emails, project coordination, budgeting, or technical drawings. I try to leave creative work like concepts, writing, or visuals for the evenings or late afternoons, when my emotional energy is at its peak. Midday, I take a break to connect with nature. Whether it’s horse riding, walking outdoors, or grabbing a coffee. That reset is essential for me. I need space to feel inspired, even in the middle of a business day. Little things that lift me like a good song, light shifting through the room, an unexpected client message that shows something clicked. I stay closely tuned to energy and mood throughout the day. My routine is consistent, but my creativity flows best when I let it move naturally.

How do you keep up with latest design trends? To what extent do design trends matter?

BM : I stay aware of design trends, but I don’t follow them in a literal or seasonal way. I believe in designing with depth and longevity, not for what’s considered “in” at the moment. Trends can be inspiring and they show what people are craving emotionally or culturally but they shouldn’t dictate the soul of a design. I do a lot of research in materials and technologies that are new and unique. My work is rooted in emotional storytelling, human behavior, and nature. I prefer to let those lead the process, rather than fitting into a visual trend. I’d rather create something that feels timeless, personal, and alive, something that can evolve over time with the user, instead of becoming outdated. When I do look for inspiration, it’s not from trend forecasts or design blogs, it’s from life itself: a movement, a texture, a piece of music, or a silent moment in nature. That’s the kind of influence that never goes out of style.

How do you know if a product or project is well designed? How do you define good design?

BM : For me, good design is defined by how deeply it touches people emotionally, functionally, and visually. It’s not just about how something looks, but how it feels, how it works, and how it respects its context and user. When I look at a space or product and immediately sense that it’s thoughtful, intuitive, and alive with purpose, that’s when I know it’s well-designed. It should feel like it belongs to the people using it, to the environment it’s in, and to the moment it’s made for. Good design solves a problem without noise. It supports without overwhelming. It leaves room for life to happen. The common mistake I see is designing for appearance or trends without understanding the emotional or spatial needs behind it. Design isn’t decoration, it’s a form of communication and care. If it moves people, supports them, and makes something quietly better then that’s good design to me.

How do you decide if your design is ready?

BM : I don’t think a design is ever truly finished, it just reaches a point where it feels honest, aligned, and able to stand on its own. There’s always something you could tweak, add, or rethink. But for me, the moment I know it’s ready is when nothing feels forced anymore and when the design is calm, resolved, and every part has a reason to exist. It’s more of a feeling than a rule, a quiet sense of “this is enough.” I listen closely to my intuition, but I also ask: – Does it serve the user with clarity and care? – Does it tell the story it was meant to tell? – Would I want to inhabit this space or interact with this object again and again? Once those answers are yes, and the energy of the design feels settled, I know it’s time to let go and move on. But I always carry the lessons forward because every design evolves you, even after it’s built.

What is your biggest design work?

BM : While I’ve had the chance to design impactful, built spaces like Eurobump Unfold, which reshaped how a factory office could feel I believe my biggest work is still in the making. It’s a concept project that I’ve been quietly developing, centered around one deep question: “How can I build trust?” It’s not just about space or form, it’s about emotion, human connection, and rethinking how design can facilitate transformation and how we can build trust into a tangible form! This project will eventually launch as part of a larger initiative I’m building — a brand and platform called Trust Exchange. It’s a side project for now, but one I hold very close. It’s the most personal and visionary thing I’ve ever worked on. I’ll share the full details when the time is right but what makes this project so special is that it’s not just design for the eye, it’s design for healing, dialogue, and reconnection. That, to me, is the future of meaningful design.

Who is your favourite designer?

BM : I deeply admire Peter Zumthor, not just for his architecture, but for the stillness and soul in his work. He designs spaces that don’t scream, but whisper something eternal. His sensitivity to atmosphere, material, and human experience resonates so closely with my own values. I also admire Tadao Ando, Hiroshi Sambuichi, and Shigeru Ban. Each of them brings a kind of poetic discipline to design. They create silence, light, structure, and flow in a way that feels more like meditation than construction. If I could speak to a single designer from the past, I would love to talk with Bruno Munari. His curiosity, his multi-disciplinary mind, and his ability to turn simplicity into wonder are something I find incredibly inspiring. For me, the most impactful designers are the ones who don’t just build, but make people feel differently and more connected, more alive, more human.

Would you tell us a bit about your lifestyle and culture?

BM : I live a life that’s deeply connected to nature, movement, and emotion. I start my days early, carve space for horse riding, walking, or simply breathing in silence. Music is always around me, it’s not just a background, it’s a companion to my creative process. It helps me shift energy, access feeling, and move ideas through me more freely. I’m currently based in Turkey, but transitioning my life and studio to Copenhagen, where I feel my approach to design - slow, intuitive, human-centered - is more valued. Still, my Turkish culture stays with me. It taught me about contrasts; chaos and calm, tradition and change and I carry that into my designs, always seeking balance and honesty. I am also half German and that's where my discipline and waking up early comes from I believe. Good design, to me, is how we soften the world. It helps us move through life more gently. In my own life, design has taught me to observe more, own less, and feel deeper. Even the smallest decisions and like how light enters my home, or how a space invites stillness and shape how I move through the day. Design, lifestyle, and culture are never separate for me, they are one quiet, evolving story.

Would you tell us more about your work culture and business philosophy?

BM : I run my studio with a soul-first approach. Whether I’m working solo or collaborating, I value honesty, presence, and deep listening. My work culture is built on trust, freedom, and the belief that good energy creates good design. I love working in collaboration, especially with people who bring different perspectives or see what I might miss. I’m very open in that way and I believe co-designing makes the final outcome more layered and human. I regularly collaborate with stylists, engineers, artisans, and other creatives whose energy I respect. What I look for in team members or partners is emotional intelligence, curiosity, and the ability to observe. Technical skills can be taught but the sensitivity to read space, context, and people is something deeper. My responsibilities range from creative direction to design strategy, from client listening to hands-on execution. But what can’t be forgotten is that at the heart of it all, my job is to hold space for ideas, for people, and for transformation. The core challenge of this profession is staying true to your vision while navigating practical constraints and client expectations. But if you’re aligned with your purpose, the challenges become part of the beauty. A good designer, in my view, must be patient, observant, emotionally aware, and willing to keep learning not just about design, but about life itself. Leave your egos behind and design for soul!

What are your philanthropic contributions to society as a designer, artist and architect?

BM : For me, design has always been a tool for healing, connection, and awakening. So giving back isn’t just an extra, it’s woven into how I work. I believe deeply in using design to raise awareness, shift perspectives, and support well-being, especially in environments where people often feel overlooked, like industrial settings, public spaces, or emotionally disconnected offices. I’ve taken on pro bono projects when the purpose aligned especially for nonprofit causes or individuals doing meaningful work without resources. I also mentor young designers informally, guiding those who are sensitive and purpose-driven but still finding their voice in this loud industry. I believe artists, designers, and architects should absolutely be involved in humanitarian projects. We are not here just to make things look beautiful. We’re here to reimagine systems, amplify truth, and care for people in visible and invisible ways. We are here to reshape the society and the world around us! We have the power to do that. Good design, to me, is a form of quiet activism. And I will always use it to contribute, uplift, and create change, however I can.

What positive experiences you had when you attend the A’ Design Award?

BM : Participating in the A’ Design Award was an incredibly affirming and expansive experience for me. It gave my work a global platform to be seen, understood, and celebrated. Three main benefits I’ve felt as a designer: 1.Visibility – My work reached audiences and professionals I wouldn’t have connected with otherwise. It opened doors internationally, which is so important for independent designers like me. 2.Validation – Not in an ego sense, but in knowing that something I created from such a heartfelt place resonated on a larger scale. 3.Momentum – The recognition gave me a sense of creative trust in myself, and it helped strengthen the story I tell through my studio and future projects. I think design competitions like this are relevant because they encourage designers to refine their voice, not just their visuals. They create a space for reflection, exposure, and creative bravery. Being selected as Designer of the Day was deeply meaningful. It reminded me that quiet, emotionally rooted design has a place in the world and that even in an industrial workspace, empathy and imagination matter.

Belis Memik Profile