Caline morcos interiors

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Caline morcos interiors ("CMI") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

CMI : I hold a Master’s degree in Interior Architecture from ALBA (Académie Libanaise des Beaux-Arts) in Beirut, and a post-diploma in Furniture Design from ENSAD (École Nationale Supérieure des Arts Décoratifs) in Paris. My professional journey includes three years at GM Architects and 18 years at Dar Al-Handasah, a leading multinational firm based in Beirut. In 2024, I launched my own agency, Caline Morcos Interiors, marking a new chapter of independent creative practice.

DL: What motivates you to design in general, why did you become a designer?

CMI : What motivates me to design is an inner surplus of creativity, an almost constant urge to express, shape, and imagine. Design, for me, is not just a profession but a necessity, a way to channel that creative overflow into something tangible and lasting. I became a designer to leave traces of beauty, thought, and intention in the spaces we inhabit, marks that speak long after we’re gone. I'm driven by the challenge of pushing the limits of what design can be, constantly questioning conventions, refining ideas, and exploring new ways of elevating the ordinary. I believe that design has the power to enhance our daily lives in profound yet subtle ways. From how light moves through a room to how a material feels under your hand, every detail has the potential to influence our mood, our comfort, and our sense of belonging. At its core, my motivation comes from the belief that design matters, not only as an artistic expression, but as a vital part of human experience.

DL: Did you choose to become a designer, or you were forced to become one?

CMI : I chose to become a designer, wholeheartedly. It was never something I was forced into. From a very young age, I was constantly creating, imagining, and observing the spaces around me with an unusual sensitivity to form, light, and atmosphere. Choosing design was a natural response to that inner world, an outlet for an overflowing creativity and a deep desire to shape the environments we live in. It was a conscious decision rooted in passion, not obligation.

DL: What do you design, what type of designs do you wish to design more of?

CMI : I design a wide range of projects, from hospitality and commercial spaces to corporate, institutional, luxury, and residential interiors. Each project type challenges me in different ways and allows me to explore how design can elevate human experience across various contexts. That said, I’m especially drawn to projects that allow for narrative-driven, immersive design spaces where I can push creative boundaries and craft meaningful atmospheres. I’d love to design more projects where design intersects with storytelling, craftsmanship, and emotional impact, whether it's a boutique hotel, a cultural space, or a visionary residential interior. My goal is always to create environments that leave a lasting impression and enhance the way we live, work, and connect.

DL: What should young designers do to become a design legend like you?

CMI : First, I don’t see myself as a “design legend”, just someone who has devoted years to the craft with passion, persistence, and curiosity. If I were to offer advice to young designers, I’d say this: Stay endlessly curious. Nurture your creativity as a daily habit, not just a skill. Be fearless in experimenting, questioning, and breaking rules, because pushing boundaries is how design evolves. But at the same time, stay grounded: master the fundamentals, respect the process, and pay attention to detail. Above all, be true to yourself. Your individuality is your greatest strength. Don’t try to imitate others, find your own voice, your own way of seeing the world. Design with intention not just to impress, but to leave something meaningful behind, to enhance lives, and to create work that resonates long after it’s built.

DL: What distinguishes between a good designer and a great designer?

CMI : A good designer solves problems with skill, delivers aesthetically pleasing results, and meets the brief. But a great designer goes beyond the brief, bringing vision, emotion, and meaning to every project. Great designers don’t just decorate spaces, they tell stories, evoke feelings, and shape experiences that resonate on a deeper level. What truly distinguishes a great designer is their ability to listen deeply, stay curious, and push boundaries without losing clarity or purpose. They design with empathy, precision, and soul. They’re not afraid to take creative risks, yet they remain grounded in the human experience.

DL: What makes a good design a really good design, how do you evaluate good design?

CMI : A good design becomes a truly great design when it transcends function and aesthetics to create a lasting emotional connection. It’s not just about how it looks or works, it’s about how it makes you feel, how it improves everyday life, and how effortlessly it blends meaning with experience. For me, a really good design is one that: Solves a problem intelligently, Feels intuitive and natural to use Stirs an emotional response Stands the test of time And ultimately, tells a story that reflects both the user and the designer’s vision. When I evaluate design, I look for clarity of intent, coherence in concept, and attention to the smallest details. But most of all, I ask: Does it elevate the human experience? If it does, quietly or boldly, then it's not just good. It’s exceptional.

DL: What is the value of good design? Why should everyone invest in good design?

CMI : Good design has the power to shape how we live, work, and feel. It’s not just about aesthetics, it’s about creating environments that function well, inspire us, and improve our everyday experiences. When done thoughtfully, good design brings clarity, comfort, and meaning to our surroundings. Investing in good design means investing in quality of life. It enhances well-being, boosts productivity, fosters connection, and even increases the long-term value of a space. Whether it’s a home, a workplace, or a public area, good design supports how we move through the world, physically, emotionally, and socially. Everyone should invest in good design because it’s not a luxury, it’s a necessity for building spaces that endure, that resonate, and that leave a positive imprint on people’s lives. It’s a quiet but powerful force that, when done right, becomes invisible, seamlessly improving everything it touches.

DL: What would you design and who would you design for if you had the time?

CMI : I would design something deeply personal and emotionally resonant, perhaps a cultural space, an artists’ residency, or a retreat that blends architecture, nature, and reflection. A place that encourages slowness, presence, and inspiration. I would design for those who crave meaning over trends, for people who value craftsmanship, emotion, and quiet beauty. Whether it’s a poet, a dancer, or someone simply seeking stillness, I’d love to create spaces that nurture the soul and invite people to connect with themselves, with others, and with their surroundings. Ultimately, I’d design something that leaves a quiet yet lasting trace, something honest, timeless, and human.

DL: What is the dream project you haven’t yet had time to realize?

CMI : An Experimental Concept Store or Gallery: A rotating design and retail space where the interior changes with each curated collection, blurring boundaries between retail, exhibition, and spatial art. Perfect for me, who love designing theatrical, and highly visual experiences.

DL: What is your secret recipe of success in design, what is your secret ingredient?

CMI : My secret recipe is to stay true to myself. I design with honesty, curiosity, and the constant desire to push boundaries without losing meaning. I believe the best work happens when you combine technical precision with a sense of poetry, when a space doesn’t just look beautiful, but feels alive.

DL: Who are some other design masters and legends you get inspired from?

CMI : Le Corbusier, Tadao Ando, Foster and partners, Patricia Urquiola, Paola lenti, Marcel Wanders, Philippe Starck, Gilles et Boissier

DL: What are your favorite designs by other designers, why do you like them?

CMI : I’m drawn to projects that embody boldness, playfulness, and a spirit of experimentation, designs that challenge convention and spark emotion. Whether it’s a luxurious hotel or a simple everyday object.

DL: What is your greatest design, which aspects of that design makes you think it is great?

CMI : La sagrada familia by Antonio Gaudi. What makes it extraordinary is how it transcends architecture, it’s a living organism, a fusion of nature, faith, structure, and sculpture. Gaudí didn't just build a cathedral; he created a complete vision, down to the smallest detail, where every curve, texture, and light beam serves a spiritual and symbolic purpose. Its greatness lies in its uncompromising imagination, its audacity, and its timeless devotion to craftsmanship. It pushes every boundary technically, aesthetically, and emotionally

DL: How could people improve themselves to be better designers, what did you do?

CMI : To become a better designer, you have to remain endlessly curious, humble, and open to evolution. Design is not a static skill, it’s a way of seeing, feeling, and thinking. The more you expose yourself to the world art, architecture, literature, travel, human behavior, the richer your design vocabulary becomes. Personally, I never stopped learning. I constantly observe, question, and refine. I treat each project as a new challenge, a chance to push further. I also learned to trust my intuition while grounding it in discipline and rigor. Over time, I’ve come to realize that great design comes not just from talent, but from empathy, consistency, and resilience.

DL: If you hadn’t become a designer, what would you have done?

CMI : If I hadn’t become a designer, I would have pursued something equally creative and expressive, perhaps a writer, artist, or set designer. I’ve always felt the need to tell stories, to shape emotions, to create atmospheres whether through space, words, or visuals.

DL: How do you define design, what is design for you?

CMI : For me, design is the art of shaping experience. It’s not just about how something looks, it’s about how it works, how it feels, and how it makes people connect with a space, an object, or even a moment. Design is a language one that speaks without words. It can comfort, provoke, inspire, or calm. It’s a subtle balance between intuition and intention, function and emotion, logic and poetry. At its core, design is a tool to elevate the everyday. It’s a way to bring beauty, clarity, and meaning into our lives. For me, it’s a necessity, a way of thinking, observing, and leaving traces of creativity in the world.

DL: Who helped you to reach these heights, who was your biggest supporter?

CMI : My greatest supporter has always been my mother. She believed in me before I even knew what I was capable of. Her quiet strength, unwavering encouragement, and constant presence gave me the confidence to pursue my path, no matter how ambitious or unconventional it seemed. She nurtured my creativity, gave me space to dream, and reminded me to stay grounded and true to myself. I carry her values with me in everything I do, and I know that much of who I am as a designer and as a person is thanks to her.

DL: What helped you to become a great designer?

CMI : What helped me become a great designer is a mix of curiosity, persistence, and the constant desire to grow. I never settled for the obvious, I’ve always questioned, explored, and pushed myself to go further, both creatively and technically. But beyond that, what truly shaped me was learning to observe deeply people, spaces, details, light, silence. I’ve learned that great design isn’t just about talent; it’s about listening, refining, and having the courage to be both bold and sensitive.

DL: What were the obstacles you faced before becoming a design master?

CMI : I faced many obstacles, some external, others internal. Early in my career, it was about proving myself in a field where experience, confidence, and recognition take time to build. I had to work harder to earn trust, especially in environments where creativity wasn’t always fully understood or valued. There were moments of doubt, fatigue, and the constant pressure to meet expectations while still pushing boundaries. But perhaps the biggest challenge was finding and protecting my own voice, staying true to my vision in a world full of noise, trends, and compromises. Learning to say no, to trust my instincts, and to remain authentic was not always easy, but it was essential. Every obstacle shaped me. They taught me resilience, patience, and the importance of staying passionate, no matter how tough the path.

DL: How do you think designers should present their work?

CMI : Designers should present their work as more than just visuals, they should present it as a story. Every project has a narrative, a reason it exists, and a process behind its creation. It’s important to communicate not only what was designed, but why, the intention, the inspiration, the challenges, and the emotional or functional impact. Clarity is key: the presentation should be structured, visually coherent, and emotionally engaging. Use strong visuals,but let them be supported by thoughtful words. Speak about the concept, the process, the details, and the result,but also about the human experience the design creates. Most importantly, be authentic. Let your passion, personality, and values come through. A great presentation doesn’t just show the work, it reveals the designer behind it.

DL: What’s your next design project, what should we expect from you in future?

CMI : I'm currently dreaming of a project that’s very close to my heart, something for Lebanon, my home. Whether it’s revitalizing a public space, creating a cultural venue that celebrates Lebanese heritage with a modern twist, or designing a meaningful experience that brings people together, I want to channel my skills into a project that uplifts, inspires, and reimagines what design can do for my country. It’s about blending bold creativity with cultural memory, and shaping something lasting, poetic, and rooted in our collective story. Expect something daring, emotional, and beautifully Lebanese.

DL: What’s your ultimate goal as a designer?

CMI : My ultimate goal as a designer is to create spaces and experiences that leave a lasting emotional imprint, designs that are not only beautiful, but meaningful. I aim to blend function with poetry, innovation with memory, and bold creativity with human connection.

DL: What people expect from an esteemed designer such as yourself?

CMI : People expect vision, precision, and a certain kind of magic, an ability to translate abstract ideas into spaces that inspire, move, and endure. They look for a designer who not only understands form and function, but who brings depth, emotion, and identity into every project.

DL: How does design help create a better society?

CMI : Good design goes beyond aesthetics; it addresses real human needs, promotes accessibility, and fosters inclusion, well-being, and dignity.

DL: What are you currently working on that you are especially excited about?

CMI : I'm currently working on a bold new restaurant in Beirut, a project that’s as vibrant and layered as the city itself. It’s a space where contemporary design meets cultural roots, where every material, texture, and detail tell a story of beirut with a modern, playful twist.

DL: Which design projects gave you the most satisfaction, why?

CMI : The projects that have given me the most satisfaction are often public or culturally rooted spaces, projects that invite broader engagement and allow more room for creativity, storytelling, and experimentation. Public projects come with fewer commercial constraints and more freedom to dream, to design experiences that are meaningful, inclusive, and lasting. They challenge me to think beyond trends and focus on impact, emotion, and identity. That freedom to shape how people feel, gather, and connect is deeply fulfilling. There’s something incredibly powerful about designing for the collective, not just the individual. That’s where I feel my creativity is at its most alive.

DL: What would you like to see changed in design industry in the coming years?

CMI : I’d love to see the design industry become more human-centered, inclusive, and courageous in the coming years. We need to move beyond superficial trends and focus more on meaning, longevity, and emotional depth. Design should serve people—not just markets and be rooted in authenticity rather than constant reinvention for the sake of novelty. I also hope to see more diversity in voices and narratives. The industry still tends to spotlight a narrow group of perspectives, but design thrives when it's enriched by different cultures, backgrounds, and ways of thinking.

DL: Where do you think the design field is headed next?

CMI : I believe the design field is moving toward a more emotionally intelligent, responsible, and immersive future. We're seeing a shift away from purely aesthetic-driven work toward designs that are deeply human, narrative-rich, and experientially layered.

DL: How long does it take you to finalize a design project?

CMI : It really depends on the scale, complexity, and nature of the project. Some smaller, concept-driven designs can be finalized in a few weeks, while larger interior architecture projects, especially those involving custom detailing, technical coordination, and execution can take several months to fully develop and refine.

DL: When you have a new design project, where do you start?

CMI : When I have a new design project, I always start with research. It’s the foundation of everything. I dive into the context cultural, historical, spatial, and emotional. I study the site, the people, the function, and the story behind the project. I try to understand not just what needs to be designed, but why. This phase helps me uncover hidden layers, spark ideas, and define the direction. From there, I build a narrative—a conceptual thread that ties everything together. Research allows me to move beyond trends and surface-level aesthetics. It gives meaning, depth, and intention to every choice I make. For me, research is not just a starting point—it’s a compass that guides the entire creative process.

DL: What is your life motto as a designer?

CMI : Design with soul, build with purpose.

DL: Do you think design sets the trends or trends set the designs?

CMI : I believe it's a dialogue, but great design sets the trends, not the other way around. When design is rooted in authenticity, vision, and meaning, it naturally leads. It dares to propose something new, challenge expectations, and push boundaries and that’s what eventually becomes a trend.

DL: What is the role of technology when you design?

CMI : Technology plays a crucial supporting role in my design process, it’s a tool for precision, visualization, and innovation, but never a substitute for intuition or emotion. I use it to translate ideas into immersive visuals, to experiment with materials, light, and form, and to ensure technical feasibility down to the finest detail. From 3D modeling to digital renders, technology helps me bridge imagination with reality, bringing concepts to life before they’re even built.

DL: What kind of design software and equipment do you use in your work?

CMI : In my work, I use a combination of technical and visual software to bring projects to life from concept to execution. For 2D drawings and detailed construction documentation, I rely on AutoCAD. For 3D modeling, I often use SketchUp or 3ds Max, depending on the complexity of the project, along with V-Ray or Corona Renderer for high-quality, photorealistic renders. For mood boards, presentations, and visual storytelling, I use Adobe Photoshop, InDesign, and Illustrator. These help me communicate atmosphere, color palettes, and materiality in a refined and impactful way.

DL: What is the role of the color, materials and ambient in design?

CMI : Color, materials, and ambiance are the soul of a space. They go far beyond aesthetics, they shape how we feel, behave, and connect to our surroundings. Together, these elements create the emotional architecture of a space. They transform the functional into the meaningful, and that’s where design becomes unforgettable.

DL: What do you wish people to ask about your design?

CMI : I wish people would ask: “What inspired it?” or “What emotion were you trying to evoke?” Because behind every line, material, or gesture, there’s a deeper intention, a story, a memory, a cultural echo. I design not just for the eye, but for the soul.

DL: When you see a new great design or product what comes into your mind?

CMI : When I see a new great design or product, what comes to mind is a mix of admiration, curiosity, and inspiration. I immediately start thinking about the intention behind it, what problem it’s solving, what emotion it’s conveying, what makes it feel so right.

DL: Who is your ideal design partner? Do you believe in co-design?

CMI : I believe in co-design when it’s rooted in shared vision, mutual respect, and creative chemistry. My ideal design partner is someone who challenges and complements me, someone curious, bold, and unafraid to push boundaries, but also grounded enough to know when to edit, listen, and refine.

DL: Which people you interacted had the most influence on your design?

CMI : The people who’ve had the most influence on my design journey are those who challenged me to think deeper, feel more, and stay true to my vision.

DL: Which books you read had the most effect on your design?

CMI : Several books have left a lasting impression on the way I approach design, some directly about architecture, others more philosophical or artistic in nature. One that stands out is "Atmospheres" by Peter Zumthor. It shaped how I think about emotion in space, how light, material, and silence can create a sensory presence that lingers. It reminded me that design isn’t just visual, it’s experiential. "The Eyes of the Skin" by Juhani Pallasmaa also had a profound impact. It made me more aware of the multisensory dimension of design, how we experience space not only with our eyes, but with our whole body, memory, and intuition. Outside the design field, books like "Wabi-Sabi for Artists, Designers, Poets & Philosophers" by Leonard Koren taught me the beauty of imperfection and the value of restraint. These texts influence how I design spaces that are quiet, poetic, and meaningful.

DL: How did you develop your skills as a master designer?

CMI : Through time, obsession, and relentless curiosity. I developed my skills by constantly observing the world, sketching ideas, studying materials, and learning from every project, no matter how big or small. Experience taught me precision, but passion taught me vision.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

CMI : Irrespective of time and space, I would love to meet and have a conversation with Antoni Gaudí. His work transcends architecture, it’s spiritual, intuitive, and deeply rooted in nature. I’d be fascinated to understand how he imagined such visionary forms in an era with limited tools, how he trusted his instincts so completely, and how he balanced chaos with harmony.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

CMI : I’m deeply grateful for the recognition,it’s a beautiful validation of years of dedication, hard work, and passion. But I don’t design for the spotlight. I design because I love the process, the emotion, the craft.

DL: What is your favorite color, place, food, season, thing and brand?

CMI : Color: A deep, rich ochre, earthy, timeless, and full of warmth. Place: Beirut chaotic, soulful, layered. It’s home, contradiction, and inspiration all at once. Food: Anything shared at a long table with mezze, fresh bread, and laughter. Season: Autumn, for its light, its mood, and its quiet poetry. Thing: My sketchbook, it holds fragments of thoughts, dreams, and beginnings. Brand: I’m drawn to brands with soul and craft, like Elie Saab for its elegance, and Aesop for its subtle storytelling.

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

CMI : Once, during a site visit, I was passionately explaining to a contractor how important the exact shade of off-white was for a wall finish,“not too warm, not too cool, just the perfect balance.” He nodded politely, walked away, and came back holding a bucket of white paint labeled: ‘off-white-ish.’ He said, “This one’s flexible.”

DL: What makes your day great as a designer, how do you motivate yourself?

CMI : A great day for me is when an idea clicks, when something I’ve been sketching or thinking about finally takes shape and feels right. It could be a material pairing, a spatial gesture, or even the way light moves through a design. That moment of alignment, when intuition meets clarity—is pure joy.

DL: When you were a little child, was it obvious that you would become a great designer?

CMI : Looking back, the signs were always there—even if I didn’t know it at the time. As a child, I was constantly creating, drawing, building, rearranging objects, paying attention to colors, textures, and atmospheres in a way that felt instinctive. I saw beauty in the smallest details and was endlessly curious about how things were made and how spaces made people feel.

DL: What do you think about future; what do you see will happen in thousand years from now?

CMI : A thousand years from now, I believe design will still exist, but in ways we can barely imagine today. It may no longer be about objects or spaces in the traditional sense, but about experiences, sensations, and environments that adapt to human emotion, energy, and thought.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

CMI : I’d love people to know that behind every project, no matter how refined or polished, there’s a real human story, a bit of chaos, a lot of heart, and countless hours of exploration.