Interview; Interior Designer ADesign Awards Post-meeting with Ayhan Güneri

You were deemed worthy of four awards at the A Design Award Design Competition ,whose center is located in Milano, accepted the most important and comprehensive competition by Europian Union  by your showroom designs that you designed for Euromar in four different concepts. At first we appreciate your success.

To me, these four concepts seem equivalent in terms of conception. What are the reasons of the situation while the showrooms you designed in concept of “segmentation” and “chamelon” were deserved golden prize, your “From the Future” concept were deemed worthy of silver, your design named as “From the Nature” were of bronze? Would you talk about the criterion while you are forming these places?


A Design Awards is a competition different from the others in terms of the disciplies that it embodies dissimal systemized feedbacks and projects emendated. Projects are evaluated by professors, academics, and an expert jury. Since differents points could be focused in terms of different opinions , a project’s being exposed to different critisism is natural.

We accepted the product types, usage categories, manufacturing and marketing as conception criterion in Euromar Showroom work and we prepared a projects due to it. Project consists of a place located in 450 sqm(square meter) area, a lounge and a café.

At the lounge, the main theme is technology. The technological lines on the walls and the ceiling are designed with the baseline displaying the technologies  of the shoes imported and the ones fabricated in the factory next to the building.

We focused on three different themes according to the categories of the shoes that would be demonstrated in showrooms.

A Design Awards Gold winner CHAMELEON
A Design Awards Gold winner CHAMELEON
A Design Awards Gold winner CHAMELEON

At the first showroom, the sneakers and sport equipments produced high-injection technology would be demonstrated.

It was provided to create an image as if  both the furniture and the manufacturing technique of the place had been produced in injection blocks.

A Design Awards Silver winner From The Future
A Design Awards Silver winner From The Future

While the ceiling formed in slant cycle is designed with barissol and led lighting equipment, on the four modules taking place in middle distance, different shoes are shown. The epoxy cover completes he technological chronology of the place. The point relaxing all these technological visuals is the seamy ceiling. The traces are the simulation of the shoes created by technology and manuel labor.


The special graphic designed inkjet gravures used at the backgrounds of the demonstration modules  are other components serving to complete the place.

While composing the second showroom in which the shoes made from natural leather and ecological arches, the walls are created by separated bamboo ulf moritz papers, upholstery cover is formed by stream stones sorted in filets by slicing, the place is surrounded by elliptical American walnut lags. We did not overlook the relaxing lines of the shoes in order to use the similar lines while designing the place.

A Design Awards Gold winner Segmantation
A Design Awards Gold winner Segmantation

As representing the other group of indoor shoes, second ceiling and eight special-designed lightening equipments are used in order to create an atmosphere like a ball room of a hotel; amorphous line looms large.

A Design Awards Bronze winner From The Nature

The theme of the third showroom is the representation of the nature opposing the disaster caused by human beings, being boxed in concrete the wooden parts grazing from the vicious concrete are moved up to the blue ceiling symbolizing the sky. This moving is allowed to show as if the wooden parts oppose to be touched. This attitude forms harmony with the logic of the shoes focused on casual lifestyle that is exhibited in showroom.

The special design visuals used on the walls tell the pollution of the nature caused by human factor and various components via graphics.

Crystalline epoxy having 4 milimeter thickness  symbolizes the water awakening the soil and the nature by simulating dense water cover. Mourette simmetrica armatures designed by Wilmotte & Associes pep up the place with ‘freely flying birds in the sky’ impact.

• It seems that you like using technology and new supplies in your residences. Is it about the corporate profile or about your style forming all the residences you work? How should technology affect design? What are the indispensable elements of architectural design? Does Ayhan Güneri have his own style?

Technology is essential to us, we are in the age of technology, everything is formed by it. If you look at the present day’s concept. We are together with the free form lines spouting the nature, it seems everywhere from architecture to interior design;from industrial design to fashion.When you direct your design with these sorts of free forms, technology inspires you as designing and putting your designs into practice. It is nearly impossible to create these kinds of designs at the same time you depend on information technology to make those designs usable. Once upon a time you could make your projects readable via ozalit machines but today you need 3D printers to evince them. Even if all the residences we structure are not technological(for instance “From the Nature”, you need technology in manufacturing methods.

In the past, as you mentioned, we structured places noted to be passed out of our hands at first sight. After a while we ascertained some disadvantages. To me, an architect’s having a standart style is favorable at some points but it is dangerous in the same breath. So, we have focused on the development of trademark on the commercial places we structure and we never neglect human factor. We create works giving opportunity to the clients to associate with themselves . Except for these main principles, we determine themes special to products, we write stories about the place. This approach provides us to compose such places that they are created much better in terms of spatial needs of target masse. But even if we give importance to those criterions, we try to make our mark.

• Mr. Güneri, it seems that you concentrate on store predominantly at your projects. Is it a conscious choice? Do you think that branching out in design area is important? To you, is branching out creative or soul-destroying?

Since 2000 we have created places accomodating the spirit of life via the Design, Project and Manufacturing activities and our works started with commercial places’ designs. The better we did, the more we were asked. Working on stores, showrooms and offices for a long time let us become expert. The majority in terms of numbers using the place in commercial places, usage of our designs by target audience, the variable need of each commercial place are other private reasons of us to be fond of those places- we believe that we make a contribution to our clients’ commercial succes. The visitors of the places we structured need to spend a long time and they are conditioned to buy more and more. Our clients’ commercial succes reflects our architectural success. This time we focus on the product, packaging, electronic, graphic and serving design besides designing places and we expect to be expert during time.

• What are the pros and cons of working fort he same client?

Our client is our boss. Each work means meeting a new boss so you will fold up the project while you are trying to fathom each other’s meaning. As long as you come to an agreement with your drawee, you will savour the advantages of working fort he same client. But when the projects become vicious cycle, then your skills are confined.

• What are the most enjoyable and difficult aspects of designing commercial places?

The most striking factor of designing a commercial place is to achieve in arousing the need to use that place by the target audience taking into account the psychological demands as much as physical ones.

We try to develop the commercial places and the other ones by evaluating with same criterion for design qualify. We try extraordinary manufacturing techniques and this trial period is the most difficult one while creating projects and putting them into practice because there is not a guide. You will find a new route on your own by researching. Sometimes it is very difficult to asuure the manufacturers because the details we need can be strange to them. And there is a high margin of error while trying. It is stressful to be able to minimize the mistakes and errors during the design. This situaion affects the time and cost.

• Do you follow the latest materials or trends in order to be better?

If we take the issue in hand as commercial areas, the elements constituting the choice of materials are due to the corporate profile of the brand and place, the target audience, the product range and the atmosphere desired to acquire. Trying to create a difference in the materials’ conclusive working techniques is the method we choose while using both natural and synthetic material. Nonetheless,   we are interested in the materials such as vallchromat, barrisol, bencore, corian, imibeton and led and smd led lightening equipments, vertigo phantom systems and the technological products uniting those elements.

• Finally, who are the designers electrifying and arousing you with their designs?

The works of the designers such as Ross Lovegrove, Zaha Hadid, Massimiliano Fuksas, Graft architects fascinate us.

*Thanks for this cheery interview to Ayhan Güneri

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