We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Belis Memik ("BM").
Belis Memik is an architect and designer whose work bridges function, aesthetics, and emotional depth. As founder of BELISMEMIK Architecture & Creative Studio, they approach design as a sensory and intuitive practice, integrating natural elements, spatial harmony, and human-centric thinking and spatial storytelling. Their philosophy is rooted in the belief that “The places you spend time in become the tangible landscape of your memory, they turn you into who you are while you integrate that topography into yourself. These places actually transform your way of looking, seeing, and perceiving.” The studio creates environments that prioritize well-being, energy flow, and creative expression. With a strong focus on workplace innovation and conscious design, BELISMEMIK contributes to shaping experiences that inspire, connect, and support both individuals and communities.
Belis Memik Designs
We are pleased to share with you original and innovative design work by Belis Memik.
Belis Memik Design - Eurobump Unfold Multifunctional Workspace
Designer Interview of Belis Memik:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
BM : Since I remember myself I loved creating, making, being creative and I loved art. I see it as a way to express yourself and your feelings. I have been deeply connected to the unseen; to emotions, feelings, nature, movement, animals and meaning. I never set out to become a “designer” in the conventional sense. Instead, I was always drawn to creating experiences that speak to the soul. Architecture became the vessel for that — a way to translate feeling into form, memory into space, and presence into materiality. Most people don’t realize this but the spaces we live in shape our entire emotional reality. We spend over 80% of our lives under a roof and I believe they have an amazing power on shaping our inner world and have the power to influence and re shape our reality and experiences in this world. I studied architecture, but my true education came from life: from silence, from travel, from loss, from love, from dancing until dawn, from observing the way light falls on worn stone. Over time, I realized my role wasn’t just to design buildings but to heal, to awaken, to question, and to gently remind people of what really matters. Design for me isn’t separate from art, nor from life. It’s a way of sensing, storytelling, and co-creating with the earth. I’ve always been a designer in that sense not by choice, but by nature.
DI: Can you tell us more about your company / design studio?
BM : My studio, BELISMEMIK Architecture & Creative Studio, is not just a design practice. It’s a living, breathing reflection of my values: empathy, emotion, nature, and truth. We work across architecture, interior design, and creative direction, but always with a deeper purpose. Every project begins with listening not just to the client, but to the context, the light, the energy of a space, and the unspoken needs of the people who will inhabit it. We don’t chase trends. We don’t design for ego. We design to feel to create spaces that hold, inspire, and transform. Our work blends storytelling with spatial experience. Whether it’s a private home, a retreat in nature, or a poetic visual concept, each project is grounded in emotion and layered with meaning. We are here to challenge unconscious construction, to bring sensitivity back into the built world, and to use design as a quiet form of activism. I believe how good of a designer or an architect really depends on how well you can understand your client's needs, how well you can put yourself in their shoes and empathize as well as understanding the context and the surroundings within the project.
DI: What is "design" for you?
BM : Design, for me, is a sacred language. It’s how we translate energy into form, emotion into texture, and presence into space. It’s not about objects or aesthetics but it’s about essence. True design listens. It responds. It heals. It slows us down and reminds us to feel not just to function. It’s the subtle pause before you enter a room, the way light touches a surface, the silence between materials that lets your mind rest. Design is not decoration. It’s not perfection. It’s a mirror of life itself; layered, imperfect, intuitive, and alive. It holds the power to elevate consciousness, to reconnect people with the earth and themselves. That’s the kind of design I live for to be honest; honest, poetic, and deeply human. Good design, to me, is measured by how deeply it can touch others and make them feel something. How well it solves their problems, both functionally and visually. It’s not only about beauty, but about making people feel seen, supported, and connected.
DI: What kinds of works do you like designing most?
BM : I am more drawn to concept projects, creative direction and designing experiences rather than structures. Story telling is key to me since we learn and grow from sharing our stories with each other on this planet. I can say I’m most drawn to projects that carry emotion, spaces or concepts that hold a story, a purpose, a pulse. I love designing environments where people can feel deeply: homes that feel like sanctuaries, nature-integrated spaces that quiet the mind, and creative concepts that awaken something within. And since everyone is different, I try to empathize with my client's lives and needs or the project's and leave my ego behind and design from their life. Storytelling and creative direction are especially close to my heart. I care deeply about how well a design or visual narrative conveys a story, where it takes the user from within. I want my work to move people, to shift something inside them, to change how they see or feel about the world. Whether it’s a retreat in nature, a soulful renovation, or a poetic visual concept, I gravitate toward projects that blend beauty with meaning. I design not just to create spaces but to create experiences that invite presence, emotion, and transformation.
DI: What is your most favorite design, could you please tell more about it?
BM : One of my favorite designs wasn’t the biggest or the most complex to be honest. It was one of the most emotional. It was a private home, nestled close to nature, where the client asked me to design a space that felt like a breath and comfort; soft, warm, grounding, and deeply personal. What made it special wasn’t just the materials or the layout or solving the technical parts but it was the process. We talked about memories, dreams, fears, and sensations. Experiences from our lives and understanding each other. The house became a reflection of who they were beyond the surface. Every decision was guided by emotion: how the morning light would enter the bedroom, where they would like to wake up from, the quiet corner where they could sit in silence, the textures that felt like home. What touched me most was what they said when it was complete: “It feels like the house knows me.” That, to me, is everything. When design becomes invisible and what’s left is feeling, that’s when I know I’ve done something meaningful. It reminded me why I do what I do: to create spaces that speak to the soul.
DI: What was the first thing you designed for a company?
BM : The first thing I designed for a company was an interior space that needed more than just function. I remember walking into an empty shell of a place and instantly sensing its potential. Even back then, I wasn’t focused on “styles” or trends. I was focused on feeling, how the space would hold people, where the energy would move, how it could create a certain mood. I didn’t have a big team or flashy tools. Just my intuition, my sensitivity, and my ability to read space like a story. I sketched by hand, chose materials that spoke to the concept, and stayed involved in every detail, because I saw the space as something alive. That first project taught me that even within commercial or professional boundaries, design can still be deeply emotional and human. It was the beginning of learning how to balance structure with soul. As I was responsible of the construction of the project too, it was my biggest lesson in my profession. As long as you are at the site and solving and co-working with the workers, you end up with a good result.
DI: What is your favorite material / platform / technology?
BM : I’m most drawn to natural, honest materials, the ones that carry memory, texture, and time. Raw wood, earth, stone, linen… materials that age gracefully, that breathe, that respond to light and weather and touch. I believe materials should not just be seen, but felt. They should evoke a sense of grounding and a return to what’s real. I love how one material changes over time because it actually reflects the life and that nothing stays the same as it should not also. Because of this reason I love Corten also, as it ages, it just becomes prettier and prettier. In terms of platforms, I love working with anything that allows for storytelling and emotional expression. Whether it’s physical space or digital media, I’m interested in how design can guide people through a journey. Even technology — when used consciously — can become a tool for connection, not distraction. But at the core, I always come back to what’s tactile, textural, and real. I’m not interested in perfect surfaces. I’m interested in surfaces that hold stories and are unique.
DI: When do you feel the most creative?
BM : I feel the most creative when I’m fully present, when I’m not trying to “design,” but simply allowing inspiration to move through me. It often comes in stillness, in nature, or in the quiet in-between moments: walking alone at sunrise, dancing in the dark, listening to the wind, or watching how light changes throughout the day. Creativity flows when I’m connected to emotion; whether it’s joy, heartbreak, awe, or longing. I need to feel deeply to create truthfully. That’s why I protect my sensitivity; it’s the source of everything. My most creative ideas usually come when I feel lost in my life. I also feel most creative when I let go of control. Like when I allow the unknown to enter, when I surrender to the process rather than trying to force an outcome. That’s when the most honest ideas arrive, unexpected, raw, and full of life.
DI: Which aspects of a design do you focus more during designing?
BM : For me, everything begins with listening to the client, to the space, to the land, and to what’s not being said. I don’t start with forms or styles. I start with energy, emotion, and intention. I observe and try to sit with what's given to me. I focus deeply on characterizing the essence of the person or place I’m designing for like who they are, how they feel, what they need on a soul level. Every human, every space has a unique story, and I try to translate that story into atmosphere, material, and experience. Nature is also a constant guide. I always consider how light moves, how wind flows, how the seasons will interact with the space. I aim to design in harmony with nature not against it and my biggest teacher is the nature itself. All the answers are already there. Ultimately, my process is grounded in empathy. I design to support people emotionally, to hold them, to awaken them and to do that, I have to feel deeply first and just sit with what's given to me.
DI: What kind of emotions do you feel when you design?
BM : When I design, I feel everything. That’s what makes the process alive for me. There’s a deep sense of presence and intimacy, almost like I’m in conversation with something invisible. Sometimes I feel peace, sometimes tension, sometimes longing but always connection. I often feel protective — like I’m holding space for someone’s inner world. I feel responsible, but not in a heavy way — more like a quiet duty to honor the truth of what I’m creating. There’s also a sense of excitement, especially when a space starts to reveal itself and I know I’ve touched something real. I get too excited while designing and I love that. And at the core, I feel love! Love for the process, for the people, for the potential of what design can awaken in someone. It’s emotional, intuitive, sometimes overwhelming but always beautiful. It’s like giving form to something you can only feel.
DI: What kind of emotions do you feel when your designs are realized?
BM : This is the most fulfilling part of my profession. When a design is no longer just on paper but when it becomes real, lived in, felt, that’s when the magic happens. If I see that I’ve truly touched someone, that I’ve created something that resonates deeply with them, then I know I’ve done something meaningful. It’s not about praise or perfection but it’s about connection. When the client is happy, when they feel seen, understood, and held by the space, that’s when I know the design is truly complete. It fills me with quiet joy and deep gratitude. Because in that moment, design becomes more than architecture - it becomes emotion, memory, and transformation.
DI: What makes a design successful?
BM : A design is successful when it touches people and if it solves their needs while working in harmony with the given context; emotionally and practically. It should solve real needs, reflect the soul of the person or place, and create an atmosphere that feels natural and alive. If it brings peace, inspires change, or simply makes someone feel seen and supported, then it has done its job. To me true success isn’t loud but it’s felt in the quiet details, the emotions it evokes, and the way it lingers long after you leave the space. Successful design is hidden in the details and the feelings.
DI: When judging a design as good or bad, which aspects do you consider first?
BM : First, I look at how well it fits with its surroundings, not just visually, but emotionally and environmentally. Then I ask: Does it reflect the user? Does it speak to who they are, how they live, and what they need on a deeper level? And most importantly; what does it give back to the user? A good design should not just serve; it should uplift, support, and inspire. If it doesn’t add something meaningful to their life, it’s just decoration - not design in my eyes.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
BM : As designers, we carry a deep and big responsibility because what we create shapes how people live, feel, and connect with the world. For society, our role is to design with empathy and awareness; to create spaces that support well-being, inclusivity, and emotional connection. We have the power to influence behavior, challenge norms, and quietly shift collective consciousness. For the environment, our responsibility is even greater. We must design in harmony with nature, not against it; choosing materials and methods that respect the land, reduce harm, and promote sustainability. Every choice we make has an impact — and it’s our duty to make conscious ones. Conscious design and thinking about the impact is key. Design should never be about ego. It should be about healing, honoring, and protecting both people and the planet.
DI: How do you think the "design field" is evolving? What is the future of design?
BM : I strongly believe that design is evolving into a more conscious and holistic practice. It’s no longer just about aesthetics or functionality; it’s about creating experiences that resonate emotionally, ethically, and environmentally. The future of design lies in its ability to tell meaningful stories, foster human connection, and promote sustainability. As we move forward, I believe design will continue to be a powerful tool for positive change, shaping not only our environments but also our behaviors and perspectives.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
BM : I don't want to lie about this but besides university I have not had any exhibitions. My website and instagram platform are my exhibitions and spaces where I connect with people.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
BM : Honestly my inspiration comes from life itself; from nature, emotions, silence, and stories. I’m constantly moved by the raw beauty of the natural world: light filtering through trees, the rhythm of the sea, the texture of stone. Nature teaches me balance, imperfection, and presence. All the answers are already there for the ones that knows how to listen. I also draw from my own personal journey like every experience, feeling, or encounter becomes part of my creative language. And most of all, I’m inspired by people. Their stories, their energy, their needs. I love observing how someone moves through space, what makes them feel safe, alive, or seen. I love talking to people about their experiences, their views and I have always something to learn from everyone so I try to listen as much as I can. To stay creatively open, I feed my soul with movement, travel, solitude, dancing, music, and moments of stillness. I don’t seek inspiration but more like I let it come to me when I’m fully present and listening. When I force something it never works so I try to move with the flow and let it come when it should be.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
BM : My design style is calm, minimal, and nature-inspired. I don’t like using too many colors in the main structures; I prefer soft, natural tones that create a sense of peace and timelessness. I believe the architecture should be quiet, allowing life, art, and emotion to speak. When something's shape is bold than the colour needs to be subtle. I like to balance within what I want to pop out and drag the user's focus there. When there are too many things going at once I feel like the space or the design looses its spark and importance. I like to bring in color and energy through elements that can evolve and change over time, like art, plants, textiles, and objects. Things that can shift as I change or grow or when I get bored. This keeps the space alive and personal. What drew me to this style is my need for clarity, silence, and depth; both in life and in design. I’m not interested in over-designing or following trends. I’m interested in creating spaces that breathe, that feel grounded, and that allow people to just be instead of proving something. My approach is always emotional first! I listen, I sense, I simplify. Then I shape something that holds space for the soul. I like to look into details, how materials come together or how one space joins to each other. Details and connections are key!
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
BM : I live in Istanbul, Turkey. It's a country rich with cultural layers, contrasts, and emotion. Growing up here has definitely shaped my sensitivity to texture, light, and storytelling. There’s a deep emotional rhythm in this land from ancient architecture to the chaos of everyday life and that rhythm often flows into my work. I’m especially drawn to the timeless beauty of natural materials and handmade details, which are deeply rooted in Anatolian culture. I think this heritage taught me to value what feels real and lasting, not just what looks new or polished. The challenge, though, is working in a fast-paced, often unconscious construction culture, where emotional intelligence in design is still rare, and short-term thinking often overshadows soul-driven work. But that’s also what fuels my mission: to offer an alternative, to remind people of the emotional and environmental impact design can have. Living here has taught me resilience, depth, and how to design with both history and hope in mind. But I am more into conscious construction and design therefore moving to Copenhagen for my work in less than a month.
DI: How do you work with companies?
BM : When I work with companies, I treat the process like a partnership instead of a transaction. I start by deeply listening: to their story, their values, their challenges, and their vision. I try to understand not just what they want to build, but what they want people to feel and their ideology as a company and their values. Whether it’s a spatial design or creative direction, I approach each project with empathy, clarity, and intention. I guide them through a process that’s emotional, strategic, and grounded. I am always focused on creating meaningful impact, not just visual results. I also value honesty and alignment. I only take on collaborations where there’s mutual respect and a shared desire to create consciously — for people, for the brand, and for the planet and environment.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
BM : My biggest suggestion is: don’t just look at the portfolio but instead feel the person and their story behind it. A good designer isn’t just someone who makes beautiful things, but someone who can understand your vision, guide you emotionally and practically, and translate your story into something meaningful. Also they need to be structured and motivated to work and they need to love their profession. Choose a designer who listens deeply, asks the right questions, and challenges you when needed. Not one who simply agrees but look for someone who fights for their views. Look for someone whose values align with yours, who designs with intention, and who treats the process as a collaboration, not a service. And once you find that designer, you should trust them. The best work comes when there’s mutual respect and space for creativity. Be open, be honest, and let the process evolve organically.
DI: Can you talk a little about your design process?
BM : My process is intuitive and emotional. It often feels like taking two steps forward and ten steps back and doing this forward and backward until the design fulfills me in which it will fulfill the client and its surrounding. I am constantly reflecting, refining, and reconnecting with the essence of the project. It’s not linear, but it always leads to something honest and meaningful in the end.
DI: What are 5 of your favorite design items at home?
BM : - The sofa in the living room. It actually reflects everything about the family and the house in my eyes. - Mirrors - Door details + feeling of them. How it opens, locks, closes etc. - Bed pillows - Staircase
DI: Can you describe a day in your life?
BM : I wake up every day at 6:00 am and start with my lemon water and just sitting outside for 10-15 minutes. Then I do morning workout to wake my body up; sometimes just 10 minutes, sometimes longer, depending on how I feel. By 8:45, I’m at my laptop, usually focused on emails, writing, or calculations until around 13:00. At lunch, I recharge by going horse riding or taking a walk in nature, then enjoy a slow meal and a good coffee before returning to work. My afternoons are usually quieter, and I often leave the more creative tasks for my afternoons like concept work, moodboards, or design development, for the evening, when the world is softer and my thoughts are freer. That said, my schedule flows with my mood. I honor my energy, so no two days are exactly the same and I like it that way. I love working on creative stuff when the world is quieter so really early in the mornings or after actual work times in the day.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
BM : Protect your sensitivity I would say and your creativity, it’s your superpower. Don’t rush to fit in or follow trends. Instead, slow down, listen deeply, and design from emotion, not ego. Leave your egos behind. You have something to learn from everyone on this planet. Stay curious. Ask questions. Observe life. Design isn’t about perfection but it’s about presence. Let your work reflect who you are, not just what you’ve learned. Be brave enough to say no to projects that don’t align with your values. Your energy is precious — only give it to things that truly matter. And remember: the most powerful designs are often the quietest ones. They don’t scream; they feel.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
BM : One of the greatest positives is being able to touch lives I would say, to create spaces or experiences that make people feel something, that support them emotionally, and that leave a quiet impact. Design allows us to tell stories, to heal, to shift perceptions and that’s incredibly powerful. But the challenge is that it’s deeply emotional work and a lot of discipline. You carry a lot, the client’s needs, your own vision, the responsibility to do better for the planet and for people. Sometimes it’s hard to protect your energy or stay inspired in a world that often values speed over meaning. It’s a constant balancing act between intuition and structure, creativity and limits; but that’s also what makes it so meaningful.
DI: What is your "golden rule" in design?
BM : Design from emotion, not ego. If it doesn’t feel honest, it doesn’t belong. Every choice should serve the soul of the space, the story, and the person on a deeper level, not just the surface.
DI: What skills are most important for a designer?
BM : Patience — because meaningful design takes time to reveal itself. Curiosity — to keep learning, questioning, and exploring new perspectives. Observation — the ability to notice the quiet details others miss, and translate them into something meaningful. Listener Empathy
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
BM : My toolbox is a mix of intuition and technology. I always start with hand sketching and moodboarding. It helps me connect emotionally to the project before anything digital begins. For software, I use tools like AutoCAD, SketchUp, and Adobe Suite (especially Photoshop and InDesign) for visualization and development. I also use Lightroom and Premiere for creative direction and storytelling work. Beyond that, my true sources of inspiration are books, nature, music, art, and people. I read stories, study materials, observe shadows, collect feelings. My camera, sketchbook, and sometimes even long walks are essential tools because they help me see, feel, and capture what I can later turn into design.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
BM : This is where discipline is key! I try to manage my time and structure my day with balance so doing focused tasks like emails and technical work in the morning, and leaving creative work for later when I’m more fluid and intuitive. I also break my day with movement like horse riding, walking, or just stepping away for a moment of stillness. It helps me reset and return with clarity. That said, I’ve learned not to force creativity into a rigid schedule. Design isn’t linear, and sometimes taking a step back is more productive than pushing through. I manage my time by respecting both the process and my own pace.
DI: How long does it take to design an object from beginning to end?
BM : It’s hard to define with a fixed timeline. My process is emotional and layere; sometimes it moves quickly, and other times it needs space to breathe. I believe good design can’t be rushed. It unfolds when it’s ready, and I trust that rhythm. It also depends on the scale, depth, and emotional complexity of the project. Sometimes it flows in a few days, and other times it takes weeks or even months of reflection, revision, and quiet thinking.
DI: What is the most frequently asked question to you, as a designer?
BM : People often ask me, “Can you make it look beautiful?” and I always smile, because for me, beauty is never just on the surface. Or they show me a pinterest photo saying I want this but it is a render that cannot work and needs details.
DI: What was your most important job experience?
BM : My most important job experience was the first time a client told me, “This space feels like it understands me.” It wasn’t the biggest project, but it was the moment I realized the true power of emotional design. That experience shaped everything for me, it confirmed that my role isn’t just to create beautiful spaces, but to listen, reflect, and hold people through design. It gave me confidence to trust my intuition and lean into the kind of work that feels meaningful. Since then, every project has been a continuation of that; using design to connect, to heal, and to make people feel seen.
DI: Who are some of your clients?
BM : I’ve worked with a mix of private clients, small businesses, and creative entrepreneurs. Rather than big-name clients, I’m drawn to collaborations where there’s trust, openness, and a shared desire to create something meaningful.
DI: What type of design work do you enjoy the most and why?
BM : I enjoy the kind of design work that tells a story; where I can blend emotion, space, and intention into something that touches people on a deeper level. Whether it’s a home, a retreat, or a creative concept, I love when the work feels alive; when it holds meaning and awakens something in the user. I’m especially drawn to projects that allow freedom, trust, and collaboration, where the client is open to exploring beyond trends and into truth. That’s when design becomes more than function and it becomes transformation. Because of this I love writing scenarious and doing creative direction as well as doing street interventions and installations. Radical arts + critical architecture!
DI: What are your future plans? What is next for you?
BM : I’m moving to Copenhagen. It's a city where I feel my kind of work is more understood and valued. The pace, the mindset, and the respect for nature, craft, and emotional design all align deeply with who I am and what I want to create. This next chapter is about expansion for me, continuing to design with soul, while collaborating internationally and growing my studio in a way that feels aligned and purposeful. I’m open to what comes, as long as it’s honest, human, and rooted in meaning.
DI: Do you work as a team, or do you develop your designs yourself?
BM : I do both but I love working as a team. I believe design gets stronger when there are multiple perspectives involved. Sometimes someone else sees what I can’t, or offers an idea that expands the entire vision. Or in a meeting they understood or felt the client differently than me and I learn from them also. I’m very open in that way! I enjoy honest conversations, creative exchange, and co-creating with people who share the same sensitivity and purpose. Collaboration, for me, isn’t about compromising but it’s about growing the idea together.
DI: Do you have any works-in-progress being designed that you would like to talk about?
BM : Yes! I’m currently working on a few deeply personal and emotionally driven projects, including a space that blends nature, retreat, and storytelling. Each one is still unfolding, so I like to keep them protected while in progress. But what excites me most is the direction they’re moving in. They are more aligned with who I am now: conscious, poetic, and emotionally connected design that creates real impact. I don't see my work as my work, I see it as a part of my life and my self!
DI: How can people contact you?
BM : The best way to reach me is by email. I check it constantly and always try to respond with care. It’s the most direct and personal way to connect with me about projects, collaborations, or just to start a conversation.
DI: Any other things you would like to cover that have not been covered in these questions?
BM : Just a gentle reminder that design is not only about how things look — it’s about how they feel. I believe we need more sensitivity in the world of design; more honesty, more emotion, and more connection to nature and to ourselves. We need to keep in mind to do everything consciously and thinking about the impact we are creating or leaving behind. If my work can remind even one person to slow down, to feel more deeply, or to see beauty in a new way then I know I’m doing what I’m here to do.