So Design Lab

How did So Design Lab come into being? What was the idea behind positioning yourself more like a “laboratory” than an architectural office?

Actually, the brand was born from a quest within my architectural practice. While designing spaces, I realized that objects are not merely complementary elements; rather, they are fundamental elements that constitute the space. This awareness gave rise to a desire to develop an approach different from a classic architectural office. The word “Lab” comes precisely from this. It refers to a production process that allows for thinking at different scales, where I treat each object as a small research area.

Your designs have a very strong minimalist language. Do you think minimalism is an aesthetic preference or a way of thinking?

I don't define my own work as minimalism. The simple language that emerges is actually a natural result of the materials I use and the design process. So I don't make an extra effort to make it look minimalist. As the design process progresses, unnecessary elements are naturally eliminated, and what remains is a simpler, more concise expression.

If So Design Lab were an architectural movement, how would it be defined?

It could be defined as an approach where the boundaries between space and object are blurred. I would describe it as a design philosophy that establishes a relationship with its space, communicates with it, and acts as if it were a part of the space.

Do you think your designs have an emotion? What do you want people to feel when they look at an object?

Yes, I believe my designs have an emotion. The most important thing for me is a sense of timelessness. An object should be able to maintain its existence even after years. The materials I use also play a role in supporting this idea. The natural character of the material, the change and aging of the surface over time, become part of the design. That's why I value an object gaining character over time rather than aging.

Do you think good design should be quiet or attention-grabbing?

I think good design should be somewhat characterful and dignified. It should make its presence felt in the space, but not by shouting, but in a more balanced way. Sometimes it should attract attention, and sometimes it should remain in the background. The important thing is to strike the right balance between these two states.

Does your inspiration come more from architecture, art, or everyday objects?

Since my foundation is in architecture, my way of thinking is often shaped by architecture. The idea of ​​long-lasting design also comes from there. But issues like an object attracting attention, gaining character, and having expressive power are more related to art. Therefore, in my production process, architecture and art are two areas that constantly feed each other.

What is the moment you say "it's complete" when you've designed an object?

Generally, many stages appear in my mind at the very beginning of the design. As the process progresses, the proportions and balance begin to fall into place. But actually, I can never say it's completely "complete." The "lab" approach also supports this. Designs can always be improved and evolve over time.

What was your biggest failure? How did you manage the process?

I don't see it as a complete failure. It's more like an experimental process. Some designs may not work out as I envisioned during the production phase. Sometimes you don't get the physical result you want. In such situations, it's necessary to revise the design, add new solutions, and rethink the process. This is actually a natural part of design.

What excites you most about the design world today?

In the past, the boundaries between design disciplines were quite distinct. An architect was expected to only practice architecture, and a designer to remain within their own field. Today, however, these boundaries are becoming increasingly permeable. Especially thanks to new production technologies and tools like artificial intelligence, architecture, object design, and production processes have begun to converge more closely. This is what excites me most: design no longer belongs to a single discipline. The ways of thinking that emerge at the intersection of different fields have the potential to produce new object types and new spatial approaches.

Do you think object design and industrial design are sufficiently visible in Turkey?

I think they have become more visible in recent years. But it is still a developing field. There are strong designers in Turkey. If more production opportunities and support are created, international visibility will also increase. Although the audience seems somewhat limited right now, I believe this field can reach a much stronger point.

Where does the Lumpen service cart design stand within So Design Lab?

The Lumpen service cart actually emerged from the idea of ​​rethinking an everyday and quite familiar object. I was interested in taking an ordinary usable object like a service cart and transforming it into a design object that engages with its space. What's important to me is that a functional object can also have an architectural character. It becomes a part of the space it occupies through its proportions, movement, and materials. In this sense, Lumpen is not just a service cart; It behaves like a small architectural element that moves around within the space. An object that emerges from everyday use but reinterprets its surroundings by establishing a relationship with them. This approach actually summarizes So Design Lab's production method quite well.