Kübra Harputluoğlu

How did the story of QH.STUDIO begin?

In 2022, I gained experience abroad working in various architectural offices. Having grown up in the Netherlands, I gained a great deal of experience during this time and realized at some point that I wanted to start my own office. The idea of ​​creating a space where I could bring architecture and art together excited me greatly.

Initially, I started working from home, at my computer, and soon began participating in international competitions. Over time, I achieved success in some competitions. My wife also asked me, "Why don't you open a small office?" We love Teşvikiye; my first experience in Istanbul started here, so I had a special connection to the neighborhood. We found a suitable location and completely transformed the interior. Everything really changed with the touches. The craftsmen completed it in about 20 days. Honestly, I was lucky; many things I envisioned came to fruition faster and easier than I expected.

How does producing in two different contexts, like Istanbul and Rotterdam, influence your design approach?

It definitely nourishes it a lot. Being in different countries and experiencing different geographies and cultures broadens my vision. For example, being in a very different place like Kenya, or being immersed in the studio culture of the Netherlands, changes one's perspective. Interacting with different people, the rhythm of the streets, the structure of nature… all offer a different experience in the flow of life. I believe all these experiences nourish my design language. It's like I'm taking something from Turkey, something else from the Netherlands… They all come together to form a mosaic.

How do cultural, social, or spatial differences reflect in your projects?

Context is very important to me. One of my priorities is for the project to be able to connect with nature. Being in different cultures directly affects my design process.

For example, a project of mine in Los Angeles was shortlisted, and in that project, I consciously included some references to American culture. Functionality is certainly important, but what I'm doing also needs to make me feel good. I also prefer working on smaller-scale projects. That's why it might be difficult to see me in very large urban-scale projects.

Is there a fundamental design principle that you consider "indispensable" in QH.STUDIO projects?

For me, the relationship and context with nature are the two most important elements. The more I work, the more I appreciate their value. Besides that, it's very important for me that the projects are "human-centered." But if there's one concept that encompasses it all, it's senses. Throughout my education, I've always liked approaching design through the senses. For example, in one project I designed a winery; the sound of the production downstairs and the smell of the wine were part of the experience of the space. When you enter that building, I want the space to exist through your senses. In a sense, I would call it a "sensory journey."

For you, is architecture more of a technical discipline or a field of intellectual/emotional expression?

For me, architecture is more of a field of intellectual and emotional expression. However, the technical side is also extremely important. Even when designing by breaking down a mass, I ask myself, "Does this make me feel good?" Knowledge of materials and mastery of details are also very important. But at the same time, I believe that everything is possible. I try not to limit myself at the beginning of the design process. Because when you set limits early on, you also restrict the potential work that could emerge.

Since the founding of QH.STUDIO, have you had any experiences that you could define as "failure"?

I no longer believe there is such a thing as failure. I think there are only experiences.

I used to view success and failure in a more black-and-white way. Now, the process is much more important to me. Things don't always go as I want; there are many competitions I haven't won. I used to be very upset about those. But over time I learned this: If those "failures" hadn't happened, the competitions I won wouldn't have happened either. I'm more patient now. I used to move very quickly when placing a drawing, but now I'm more open to considering different possibilities. For example, I question the process more with questions like, "Should I render this differently?"

Of all the feedback you've received so far, which one affected you the most?

An experience I had on a project in Turkey affected me quite a bit. The other party didn't want to continue with the project and started criticizing it. Yet, they had the right to revision. The main problem for me was the lack of clarity. Transparency is really important in these processes.

This situation challenged me. I used to look for the fault in myself in such situations. But now I realize it's not always about me. On the other hand, the positive feedback I received from great masters when I shared my first projects motivated me a lot.

Looking back today, what would you say to your younger self?

I would say, "You're succeeding, you can do it. You'll face difficulties, but keep going."

I was born in the Netherlands and later moved to Turkey. I was 26 when I arrived in Istanbul, and frankly, it was quite challenging. But now, looking back, I see that those difficult times actually opened many doors.

One door led to another, and finally, the door to QH.STUDIO opened.