Interview with Alp Usluduran
Uslu Design Studio was founded in 2025 by Istanbul based interior architect and designer Alp Usluduran, as an extension of his architectural practice.
Designer Interview
3 July 2026
I’ve always been drawn to creating spaces and objects that shape the way people experience their surroundings. That interest naturally led me to study Interior Architecture at Mimar Sinan Fine Arts University, where I began to see design not simply as aesthetics, but as a way of thinking and solving problems.
After graduating, I founded Uslu Architects, where I spent years designing interiors across different scales and typologies. Throughout that process, I realized that the furniture and objects within a space are just as important as the architecture itself. Rather than selecting existing pieces, I increasingly wanted to design them as an integral part of the project.
This approach eventually led to the creation of Uslu Design Studio. For me, architecture, collectible design and art are not separate disciplines but different expressions of the same design language. Disco House is a natural extension of that philosophy bringing together years of architectural thinking, craftsmanship and my personal passion for music into a collectible furniture collection.
After graduating, I founded Uslu Architects, where I spent years designing interiors across different scales and typologies. Throughout that process, I realized that the furniture and objects within a space are just as important as the architecture itself. Rather than selecting existing pieces, I increasingly wanted to design them as an integral part of the project.
This approach eventually led to the creation of Uslu Design Studio. For me, architecture, collectible design and art are not separate disciplines but different expressions of the same design language. Disco House is a natural extension of that philosophy bringing together years of architectural thinking, craftsmanship and my personal passion for music into a collectible furniture collection.
Uslu Architects is an interior architecture studio founded in 2015, focusing on residential, hospitality, workplace and commercial projects. We approach every project as a complete design experience, where architecture, interiors, materials, lighting and custom-designed objects are considered as one cohesive whole.
Uslu Design Studio was born from this way of working. Over the years, we found ourselves designing more and more bespoke furniture and objects for our architectural projects. Eventually, we wanted to transform this experience into an independent collectible design practice that could exist beyond a specific interior.
Although they operate as two separate studios, they share the same design language and philosophy. We see architecture and collectible design not as different disciplines, but as different scales of the same creative process. Every object is designed with a strong spatial awareness, while every interior is shaped through the character and presence of the objects within it.
Disco House is the first expression of this dialogue, bringing together our architectural background, craftsmanship and storytelling into a collectible furniture collection.
Uslu Design Studio was born from this way of working. Over the years, we found ourselves designing more and more bespoke furniture and objects for our architectural projects. Eventually, we wanted to transform this experience into an independent collectible design practice that could exist beyond a specific interior.
Although they operate as two separate studios, they share the same design language and philosophy. We see architecture and collectible design not as different disciplines, but as different scales of the same creative process. Every object is designed with a strong spatial awareness, while every interior is shaped through the character and presence of the objects within it.
Disco House is the first expression of this dialogue, bringing together our architectural background, craftsmanship and storytelling into a collectible furniture collection.
Design is a way of creating meaningful relationships between people, objects and spaces. It is not just about how something looks, but how it feels, functions and becomes part of everyday life.
As an interior architect, I naturally think in terms of space. Even when designing a single object, I always imagine the environment around it and the atmosphere it helps create. Likewise, when designing an interior, I believe the objects within it should be conceived as an integral part of the project rather than added afterwards.
For me, good design is timeless. It doesn't seek attention through trends or excess; it quietly earns its place through thoughtful proportions, materiality and the emotions it evokes over time.
As an interior architect, I naturally think in terms of space. Even when designing a single object, I always imagine the environment around it and the atmosphere it helps create. Likewise, when designing an interior, I believe the objects within it should be conceived as an integral part of the project rather than added afterwards.
For me, good design is timeless. It doesn't seek attention through trends or excess; it quietly earns its place through thoughtful proportions, materiality and the emotions it evokes over time.
What excites me most is the opportunity to design something I haven't designed before. It could be a house, a retail space, a restaurant, a gallery, a hotel or something entirely different. The typology itself is never the main motivation—it's the challenge of understanding a new context and developing a unique response.
The same applies to our collectible design practice. We don't create pieces for a specific market or environment. We design objects that can naturally exist in different settings, whether in a private residence, a gallery, a hospitality project or a public space.
I believe every project deserves its own identity. Rather than repeating a formula or developing a recognizable style, I enjoy discovering what each project truly needs and letting that define the design.
The same applies to our collectible design practice. We don't create pieces for a specific market or environment. We design objects that can naturally exist in different settings, whether in a private residence, a gallery, a hospitality project or a public space.
I believe every project deserves its own identity. Rather than repeating a formula or developing a recognizable style, I enjoy discovering what each project truly needs and letting that define the design.
If I had to choose one, it would be The Cuban.
It is probably the piece that best represents my design approach because it brings together different worlds that have always inspired me—architecture, craftsmanship and music. The idea originally came from a personal desire to design the perfect cabinet for listening to music and DJing, but it gradually evolved into something much more layered.
Beyond being a bar cabinet, it incorporates a humidor, a DJ station and carefully considered storage, while remaining a sculptural furniture piece. Every detail, from the curved geometry to the material palette, was designed to create an emotional experience rather than simply serve a function.
For me, The Cuban represents what I enjoy most about design: combining different rituals, emotions and functions into a single object that tells a story and invites people to gather around it.
It is probably the piece that best represents my design approach because it brings together different worlds that have always inspired me—architecture, craftsmanship and music. The idea originally came from a personal desire to design the perfect cabinet for listening to music and DJing, but it gradually evolved into something much more layered.
Beyond being a bar cabinet, it incorporates a humidor, a DJ station and carefully considered storage, while remaining a sculptural furniture piece. Every detail, from the curved geometry to the material palette, was designed to create an emotional experience rather than simply serve a function.
For me, The Cuban represents what I enjoy most about design: combining different rituals, emotions and functions into a single object that tells a story and invites people to gather around it.
We have never designed products as commissioned work for other companies. Since the beginning, our focus has been on designing for our own architectural projects and, more recently, for our own collectible design brand.
Many of the pieces we create originate from needs we identify within our interior projects. Rather than searching for an existing product, we prefer to design one that belongs specifically to the space and its story.
This way of working eventually led to the creation of Uslu Design Studio, where those ideas could evolve into independent collectible pieces beyond a single project.
Many of the pieces we create originate from needs we identify within our interior projects. Rather than searching for an existing product, we prefer to design one that belongs specifically to the space and its story.
This way of working eventually led to the creation of Uslu Design Studio, where those ideas could evolve into independent collectible pieces beyond a single project.
I don't have a single favorite material or technology. I believe every project should define its own material palette rather than the other way around.
I’m naturally drawn to honest, tactile materials such as wood, stone, metal and glass because they age beautifully and develop character over time. At the same time, I'm always open to combining traditional craftsmanship with contemporary manufacturing techniques whenever it helps express the idea more clearly.
For me, the material is never the starting point—it is the result of the concept, the context and the experience we want to create.
I’m naturally drawn to honest, tactile materials such as wood, stone, metal and glass because they age beautifully and develop character over time. At the same time, I'm always open to combining traditional craftsmanship with contemporary manufacturing techniques whenever it helps express the idea more clearly.
For me, the material is never the starting point—it is the result of the concept, the context and the experience we want to create.
Surprisingly, I often feel most creative when I'm away from work. Traveling, taking a break, or simply stepping outside my daily routine helps me see things from a different perspective.
Music is another important trigger. Some of my best ideas come while listening to music—or even dancing. It allows me to disconnect from the pressure of finding an answer, and that's often when ideas appear naturally.
I’ve learned that creativity rarely comes from forcing it. It usually finds me when my mind is free.
Music is another important trigger. Some of my best ideas come while listening to music—or even dancing. It allows me to disconnect from the pressure of finding an answer, and that's often when ideas appear naturally.
I’ve learned that creativity rarely comes from forcing it. It usually finds me when my mind is free.
I usually focus on the overall experience rather than a single aspect. I always ask how a person will interact with the space or the object, how it will function, and how it will make them feel.
Balance is very important to me. I don't see function, aesthetics, materiality and craftsmanship as separate priorities—they need to support each other. A beautiful object that doesn't function well, or a functional object without emotion, always feels incomplete.
Ultimately, I try to create designs that feel natural, timeless and meaningful, where every decision has a reason.
Balance is very important to me. I don't see function, aesthetics, materiality and craftsmanship as separate priorities—they need to support each other. A beautiful object that doesn't function well, or a functional object without emotion, always feels incomplete.
Ultimately, I try to create designs that feel natural, timeless and meaningful, where every decision has a reason.
Excitement, more than anything else. Every new project is an opportunity to explore something I haven't explored before, and that's what keeps me motivated.
I enjoy the uncertainty at the beginning of the process, when there are endless possibilities. As ideas gradually take shape and become something tangible, that excitement never really disappears—it simply evolves throughout the design process.
For me, designing is driven by curiosity. If a project no longer excites me, it probably means I'm not pushing it far enough.
I enjoy the uncertainty at the beginning of the process, when there are endless possibilities. As ideas gradually take shape and become something tangible, that excitement never really disappears—it simply evolves throughout the design process.
For me, designing is driven by curiosity. If a project no longer excites me, it probably means I'm not pushing it far enough.
It's always an emotional moment. A design exists in your mind for months—or sometimes years—before it becomes real, so finally seeing it take shape is incredibly rewarding.
More than pride, I feel happiness. Seeing people interact with a space or an object exactly as I imagined, or sometimes in ways I never expected, is one of the most fulfilling parts of being a designer.
Every completed project also reminds me why I love what I do and gives me the motivation to start the next one.
More than pride, I feel happiness. Seeing people interact with a space or an object exactly as I imagined, or sometimes in ways I never expected, is one of the most fulfilling parts of being a designer.
Every completed project also reminds me why I love what I do and gives me the motivation to start the next one.
I believe a design is successful when it creates a genuine connection with people. When it attracts attention, sparks conversations and leaves a lasting impression, it has already achieved something meaningful.
Of course, appreciation alone isn't enough. A successful design should also find its audience and prove its relevance over time. For me, the most rewarding moment is when people not only admire a piece but genuinely want to live with it, use it or collect it.
Of course, appreciation alone isn't enough. A successful design should also find its audience and prove its relevance over time. For me, the most rewarding moment is when people not only admire a piece but genuinely want to live with it, use it or collect it.