Hilal Ustun Caner

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Hilal Ustun Caner ("HUC") 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?

HUC : I graduated from Istanbul Technical University in 2008 with a double major in Architecture and Landscape Architecture. My journey into design began with a unique opportunity to collaborate with Valerio Mazzoli—one of Walt Disney’s designers—on Turkey’s first theme park project. Since then, I’ve led and contributed to numerous large-scale and boutique architectural projects, always focusing on storytelling through space, materiality, and experience.

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

HUC : For me, design is a way of revealing the soul of a place. I became a designer because I’ve always been drawn to stories—those hidden in buildings, landscapes, and human emotions. Designing allows me to listen, interpret, and translate these invisible layers into spaces that feel meaningful and alive. What motivates me is the transformative power of design—its ability to evoke memory, emotion, and connection in a silent yet profound way.

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

HUC : Design was never a forced path for me—it was a calling. Even before I knew the term “architecture,” I was observing spaces, drawing details, and imagining worlds. Choosing design felt as natural as breathing. It wasn’t about career pressure; it was about listening to an inner voice that always led me towards creating, shaping, and telling stories through space

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

HUC : I primarily design high-end hospitality and residential spaces—hotels, restaurants, private villas, and luxury apartments. My work focuses on creating emotionally resonant environments where architecture, interior design, and landscape come together as a unified narrative. In the future, I would love to design more story-driven, context-aware spaces that are deeply rooted in culture, material authenticity, and the spirit of place.

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

HUC : Stay curious, stay humble, and never stop learning. Design is not just about creating beautiful things—it’s about listening deeply, observing closely, and translating emotions and context into form. Young designers should explore widely, embrace mistakes, and develop their own voice rather than following trends. Most importantly, they should design with intention—every line drawn should carry meaning.

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

HUC : A good designer solves problems. A great designer reveals unseen layers—of emotion, memory, and meaning. While good design meets expectations, great design transcends them. What sets great designers apart is their ability to listen deeply, to design with empathy, and to create spaces that resonate long after the user leaves. It’s not just about how something looks, but how it feels and lingers in the mind.

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

HUC : A really good design is not only functional and aesthetically pleasing—it’s emotionally intelligent. It responds to its context, respects its users, and tells a story without speaking. I evaluate good design through its ability to create atmosphere, evoke feeling, and offer a sense of belonging. When a space feels inevitable—as if it could not have been designed any other way—that’s when I know it’s truly good design.

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

HUC : Good design enhances life—it improves functionality, elevates aesthetics, and creates emotional connections. It brings clarity to complexity and meaning to the ordinary. Investing in good design is not a luxury; it’s a long-term value. It fosters well-being, reflects identity, and creates environments that people truly want to be in. Good design doesn’t just look good—it performs, endures, and inspires.

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

HUC : If I had the time, I would design a sanctuary—a timeless, nature-integrated retreat that reconnects people with silence, light, and slowness. Not for a client, but for the collective soul—for those who need to pause, reflect, and breathe. A space where design disappears into serenity, and where architecture becomes a gentle companion to inner stillness.

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

HUC : My dream project is to create a design-focused cultural retreat—a place where architecture, art, nature, and slowness coexist. A space for dialogue, learning, and inner transformation, open to creatives from around the world. Not just a building, but an experience that fosters depth, silence, and reconnection—with the self, with others, and with the land.

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

HUC : My secret ingredient is intuition—refined through years of observation, listening, and emotional attunement. I trust the process, respect the context, and let spaces speak before I shape them. I believe that design is not only about knowledge, but about sensing what cannot be seen—what the soul of a place wants to become. That quiet dialogue is where the magic happens.

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

HUC : I’m deeply inspired by masters who design with emotion and narrative. Tadao Ando for his poetic minimalism and spiritual spatiality. Carlo Scarpa for his craftsmanship, material sensitivity, and layers of meaning. Peter Zumthor for designing spaces that you don’t just see, but feel. And Zaha Hadid—for her fearless vision and her ability to bend form into emotion. I also draw inspiration from musicians, poets, and nature—because design is never isolated.

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

HUC : One of my favorite designs is the Church of the Light by Tadao Ando—it’s a masterclass in restraint, light, and spirituality. I also admire Carlo Scarpa’s Brion Cemetery for its exquisite detail, symbolism, and the way it choreographs movement and emotion. Peter Zumthor’s Therme Vals is another favorite; the architecture disappears into the mountain, becoming part of the landscape and memory. These works move me because they don’t just occupy space—they evoke silence, awe, and timelessness.

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

HUC : One of my most meaningful works is Belmondo Suites, a boutique hotel set in the historic fabric of Antalya’s old town. What makes this project special is how it balances heritage and contemporary life—it preserves memory while creating a new atmosphere for experience. Every material was chosen for its story, every volume shaped to respect the past yet embrace the present. I believe it’s great not because it’s complex, but because it feels inevitable—quiet, honest, and emotionally grounded.

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

HUC : To become a better designer, you must first become a better observer. I learned to read spaces, emotions, and atmospheres—beyond what is visible. I traveled, sketched endlessly, studied history, and remained curious about everything from poetry to urban decay. Design is not just about skill; it’s about perspective. You grow by listening deeply, staying humble, and allowing time to refine your voice. I still consider myself a learner—that mindset is the key to growth.

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

HUC : If I hadn’t become a designer, I would probably be a writer or a poet. I’ve always been drawn to the rhythm of words, to storytelling, to the quiet power of language. Design and writing aren’t so different to me—they both shape atmosphere, evoke emotion, and give form to the invisible. Whether with space or with words, I’ve always felt the need to create something that lingers in the soul.

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

HUC : For me, design is the art of revealing the invisible. It’s not just about form or function—it’s about meaning. Design listens before it speaks. It senses, responds, and gently shapes the way we live, feel, and remember. A good design doesn't impose itself; it resonates. It’s a dialogue between space and soul, between intention and emotion.

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

HUC : My greatest supporters have been my husband and my daughter—they are my anchor and my inspiration. At the same time, I’m deeply grateful to my team at the studio; their dedication, talent, and belief in what we create together have carried our work forward. And I must thank the version of myself who still gets excited like a child while designing—that inner Hilal has never let go of wonder, and she’s the reason I’m still here.

DL: What helped you to become a great designer?

HUC : What helped me most was my ability to understand people’s needs before they could even express them. I never believed in one-size-fits-all solutions. Every space, every person, every story deserves its own design. I strive to create something out of nothing—designs that are not only beautiful, but deeply thought out, timeless, and full of meaningful detail. I never design just to impress; I design to connect. And above all, I never tire of learning, evolving, and working with purpose.

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

HUC : One of the biggest obstacles was being a young woman in a male-dominated industry—especially at the beginning of my career, when I had to prove not only my ideas but also my presence. I also faced resistance when choosing the harder path: saying no to mediocre solutions, defending quality, and insisting on originality. Budget constraints, time pressure, and client expectations are constant challenges. But I’ve learned to see obstacles as creative triggers. Every difficulty sharpened my vision and strengthened my belief in designing with integrity.

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

HUC : Designers should present their work not just as a finished product, but as a journey. It’s important to share the “why” behind the “what”—the intention, the process, the emotion. A good presentation balances visual clarity with narrative depth. It’s not about overwhelming people with technical detail, but about revealing the story that shaped each decision. When you present your work with honesty, context, and passion, it becomes more than design—it becomes connection.

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

HUC : Currently, my focus is on gastronomy-based projects that blend spatial storytelling with sensory experience. I’m working on a series of restaurant concepts along the Mediterranean coast, where architectural language, material texture, and atmosphere come together to create immersive dining environments. In the near future, you can expect more emotionally charged spaces—rooted in place, guided by concept, and always designed with intention.

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

HUC : My ultimate goal is to create spaces that leave a lasting emotional imprint—places that people remember not just for how they looked, but for how they felt. I want to design atmospheres that awaken the senses, connect with memory, and quietly transform the way people experience life. Beyond awards or recognition, my deepest ambition is to design with meaning, with care, and with soul—always honoring the story behind the space.

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

HUC : People expect clarity, vision, and consistency. They look to me not just for aesthetic decisions, but for guidance—someone who can see the big picture, offer honest direction, and still care about the smallest detail. Clients expect confidence, but also empathy. They want designs that are not only beautiful but intelligent, grounded, and meaningful. I believe being an esteemed designer means not just meeting those expectations, but exceeding them—with humility, depth, and integrity.

DL: How does design help create a better society?

HUC : Design shapes how we live, interact, and feel. It can heal, include, connect, and inspire. When done with empathy and awareness, design becomes a silent force for equity and dignity. It creates spaces that invite dialogue, restore belonging, and elevate everyday life. A better society begins with environments that respect both people and place—and that’s where design becomes a quiet revolution.

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

HUC : I'm currently working on a new restaurant concept on the Mediterranean coast that explores the intersection of architecture, culinary culture, and sensory experience. The project is rooted in local textures and storytelling, but interpreted through a refined, contemporary lens. What excites me most is how the space will speak without words—through light, material, rhythm, and silence. It’s a project where every element is intentional, and the entire atmosphere becomes part of the dining ritual.

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

HUC : I find the most satisfaction in projects where architecture becomes a sensory experience. Restoring a historical structure and transforming it into something meaningful without losing its essence was deeply fulfilling. Similarly, designing gastronomy spaces where light, rhythm, and material come together to evoke emotion gives me immense joy. In these moments, design feels less like work and more like storytelling through space.

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

HUC : I would love to see a shift from fast, trend-driven design toward more thoughtful, timeless, and context-sensitive approaches. We need to value depth over speed, authenticity over surface. I also hope for more collaboration across disciplines and greater respect for emotional intelligence in design. Beauty alone is no longer enough—design should engage, heal, and serve the world we live in.

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

HUC : Design is moving toward deeper meaning, slower thinking, and more human-centered processes. The future belongs to spaces that are emotionally intelligent, environmentally aware, and culturally grounded. Technology will support us, but soul will define us. I believe the next era of design is not about novelty, but about creating honest, lasting experiences that respond to real human needs.

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

HUC : The timeline of a design project depends on its scale and complexity, but one thing remains constant: I never rush the essence. Some projects take a few weeks, others several months—but I always allow time for the story to emerge, the context to speak, and the details to settle. Good design needs space to breathe. I believe the right timing is not about speed, but about integrity.

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

HUC : I always start by listening—first to the place, then to the people. I try to understand the unspoken layers: the history, the light, the rhythm of life around the space. I observe, feel, and let the story surface before I touch a single line. For me, design begins with silence and attention. Only then can form, function, and emotion align authentically.

DL: What is your life motto as a designer?

HUC : “Don’t design to impress the eye—design to move the soul.”

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

HUC : “Design should observe trends, not obey them.”

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

HUC : Technology is a powerful tool—but never the starting point.

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

HUC : I use a range of tools depending on the phase of the project. For architectural design and technical drawings, I rely on AutoCAD. For 3D visualization, I use SketchUp and Lumion. Adobe Photoshop, Illustrator, and InDesign are essential parts of my workflow for presentations and visual storytelling.

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

HUC : Color, materials, and ambient are not just visual tools—they are emotional languages. They shape how a space is felt before it's understood. A warm texture, a muted tone, or a soft light can turn a structure into an experience. I see them as the atmosphere’s architecture—silent but powerful storytellers. In my work, these elements are always chosen intentionally to evoke memory, emotion, and presence.

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

HUC : I wish people would ask not just how it looks, but how it feels—and why it was designed that way. I want them to ask what the space is trying to say, what story it's holding, or what silence it's offering. Good design invites curiosity. The questions I value most are the ones that go beyond aesthetics and into intention, emotion, and memory.

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

HUC : When I encounter a truly impressive design, what comes to my mind is usually not “how it was made,” but “how it makes me feel.” A good design doesn’t just impress me; it makes me pause and reflect.

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

HUC : My ideal design partner is someone who listens deeply, questions with intention, and designs with care. I absolutely believe in co-design—when values align and egos step aside, collaboration can elevate a project beyond what either person could achieve alone. The best partnerships are built on trust, dialogue, and the shared joy of creating something meaningful together.

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

HUC : Rather than people, I’m most influenced by the presence of nature—objects, places, and atmospheres that exist without trying to impress.

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

HUC : “The Poetics of Space” by Gaston Bachelard taught me to feel space, not just draw it.

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

HUC : By staying curious, staying present, and never thinking I’ve arrived.

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

HUC : If I could meet anyone, I would choose Tadao Ando.

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

HUC : The award is meaningful to me not because it defines me, but because it honors the effort, the story behind the design, and the fact that our refined and original architectural perspective has been recognized on an international level.

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

HUC : My favorite color is black—timeless, strong, and clear. I feel most at peace in any place where I can be close to water. I enjoy fresh, vibrant salads that nourish both body and mind. Spring is my favorite season; it feels like renewal, lightness, and movement. I’m most attached to my pens—they hold my first thoughts. I don’t have a favorite brand; I’m drawn to meaning, not labels.

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

HUC : I stay motivated by staying curious, being grateful, and never forgetting that every space I design has the potential to touch someone’s life.

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

HUC : No, I don’t think so. I was a very sensitive child—emotional, and deeply drawn to colors and words. I probably seemed more like a future poet than a designer.

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

HUC : Sometimes I wonder if there will even be a world left to live in a thousand years from now.

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

HUC : If something I’ve created has touched your heart—even in silence—that alone is meaningful enough for me.