Interview with Yunus Emre Pektas

I am motivated by the possibility of turning an overlooked problem into a useful and lasting object. Design allows me to combine curiosity, creativity and technical thinking. I became a designer because I wanted not only to imagine alternatives, but also to understand how ideas can be manufactured and become part of everyday life.

I chose design deliberately. It matched both sides of my character: the desire to create and the need to solve problems logically. As my education and professional experience progressed, that choice became a long-term commitment to improving function, form and production together.

I primarily design furniture and functional products, from one-off bespoke pieces to commercially produced collections. My earlier work also includes components for home appliances and concepts for electric buses and rail vehicles. I would like to design more furniture and interior products that combine a distinctive identity with intelligent construction, customization and long-term usability.

Young designers should focus less on titles and more on building depth. They should observe carefully, complete real projects, learn how materials behave and spend time with the people who manufacture their designs. A strong portfolio comes from consistent work, honest evaluation and the willingness to improve an idea many times before presenting it.

A good designer can produce an attractive and functional solution. A great designer understands the larger system around it: the user, manufacturer, business, environment and cultural context. Great designers also know when to defend an idea, when to listen and when removing something will make the design stronger.

A really good design feels inevitable: its form, material, construction and use support one another so naturally that little appears unnecessary. I evaluate whether it solves the intended problem, communicates clearly, can be produced responsibly and continues to satisfy the user beyond the first impression.

Good design creates value repeatedly throughout a product's life. It can improve usability, reduce waste, simplify production, strengthen identity and create an emotional connection with the user. Investing in design is not simply paying for appearance; it is investing in better decisions before expensive problems reach production or the customer.

I would develop a complete collection of adaptable furniture for compact urban homes. I would design it for people whose spaces must support several activities without feeling temporary or compromised. Each piece would combine flexibility with the quality and character normally associated with permanent furniture.

My dream project is a coherent furniture and interior collection in which architecture, lighting, furniture and small functional objects share one design language. I would like to follow it from the first spatial concept through prototyping, manufacturing and installation, creating an environment where every scale contributes to the same experience.

My secret ingredient is persistence supported by technical curiosity. I do not separate creative direction from production reality. I keep asking how an idea will be used, made, assembled and maintained, and I refine it until those answers strengthen rather than dilute its identity.

I am inspired by Dieter Rams for clarity and discipline, Achille Castiglioni for intelligence and humor, Charles and Ray Eames for experimentation, and Jean Prouve for making construction part of the visual language. I also admire contemporary designers who work closely with craftspeople and manufacturers rather than treating production as a separate stage.

Among the designs I admire are the Eames Lounge Chair, Achille Castiglioni's Arco lamp, Dieter Rams' Braun products, Jean Prouve's Standard Chair and the Anglepoise lamp. They are visually memorable because their identities emerge from function, structure and use. Each demonstrates that technical logic can create emotional character.

The Angela Chair is one of my most significant designs. It received a Gold Award at the London Design Awards 2025, but its importance to me goes beyond recognition. The chair brings together a confident silhouette, comfort, refined proportions and production detail in a balanced way. It represents my aim to create furniture with a distinctive personality that remains practical and manufacturable.

Designers improve by moving repeatedly between ideas and reality. I developed my skills through formal industrial design education, CAD and visualization, workshop coordination, supplier communication and responsibility for complete projects. Working across appliances, transportation and furniture taught me to transfer principles between industries while respecting their different constraints.

I would probably have pursued a field connecting engineering, making and entrepreneurship. I enjoy understanding systems, coordinating people and transforming an idea into a tangible result. Even in another profession, I suspect I would still have found my way toward creating products or environments.

Design is the disciplined transformation of a need into a meaningful solution. It connects function, human experience, material, production and expression. For me, design is successful when these elements become inseparable rather than competing layers.

My progress has been shaped by teachers, colleagues, craftspeople, engineers, manufacturers, clients and the people close to me who supported the risks involved in a creative career. Every workshop and project team has added practical knowledge that cannot be learned from software alone.

The variety of my experience has been decisive. Designing for home appliances, electric buses, rail vehicles and furniture taught me to see problems from different scales and perspectives. International work across the UK, Europe, the USA and the Middle East strengthened my communication, adaptability and understanding of production cultures.

One of the main challenges was learning to balance creative ambition with manufacturing, budget and schedule. International projects added distance, different standards and complex supplier coordination. These obstacles ultimately improved my work by teaching me to communicate precisely, anticipate risk and protect the essential character of a design through production.

Designers should present the problem, reasoning and outcome as one clear story. Strong images are important, but they should be supported by sketches, prototypes, technical decisions and evidence of how the design works. A presentation should reveal judgment, not simply aesthetic taste.

My next work will continue to explore furniture and functional interior products with strong identities and production-ready detail. I want to expand from individual pieces toward coherent collections, while developing adaptable solutions for contemporary living and hospitality environments.

My ultimate goal is to build a recognizable body of work that connects creative character with technical integrity. I want the furniture and products I design to remain useful and valued over time, while contributing knowledge and opportunities to the designers and makers I collaborate with.

People expect originality, but they also expect responsibility. A designer must listen, understand the real problem, communicate clearly and deliver an outcome that works beyond the image. Recognition increases the responsibility to maintain standards and to remain curious rather than repeating previous success.

Design shapes how people move, rest, work and interact, often without attracting attention. It can improve accessibility, safety, comfort and resource efficiency while giving communities a stronger sense of identity. Better societies require designers to consider not only what can be made, but what deserves to be made.

I am currently developing bespoke furniture and interior pieces for luxury hospitality and high-end residential projects at DGN London. I am particularly excited by projects that require close coordination between design intent, detailed shop drawings and international manufacturing, because the final quality depends on solving all three together. [

The Angela Chair and Ashford Lounge Chair have been especially satisfying. The Angela Chair received a Gold Award at the London Design Awards 2025, while the Ashford Lounge Chair received an Honorable Mention at the SIT Furniture Design Award 2026. These projects were rewarding because their recognition validated the combination of form, comfort, detail and production thinking that defines my furniture approach. My transportation and mass-production experience also remains important because it taught me to design within complex technical systems.

I would like to see closer and earlier collaboration between designers, engineers, craftspeople and manufacturers. The industry should also place greater value on durability, repair, transparent material choices and realistic production knowledge. Designers need time to test ideas, not only pressure to generate more images and faster trends.

Design is moving toward greater customization, connected workflows and faster digital development. Artificial intelligence and advanced fabrication will expand what small teams can achieve, but human judgment will become more important, not less. The next challenge is to use speed and technology without losing cultural depth, material understanding or responsibility.

The timeframe depends on scale and technical complexity. A single furniture concept may reach a convincing design direction within weeks, while a bespoke project involving engineering, samples, revisions and international production can require several months. I define the schedule around the decisions, tests and approvals needed to protect quality.

I start by defining the real problem and separating essential requirements from assumptions. I study the user, context, dimensions, materials, manufacturing capabilities, budget and schedule. Only then do I develop alternatives, because a clear question produces more relevant creativity.

Make every detail earn its place.

The relationship works in both directions. Trends reveal changes in technology, culture and behavior, but the strongest designs do more than follow them; they interpret deeper needs and can influence what comes next. I prefer to understand trends as information rather than instructions.

Technology helps me explore, communicate and verify ideas with greater speed and precision. It supports complex geometry, visualization, documentation and coordination across countries. However, technology is a means rather than the author of the design; the designer must still define the purpose and judge the consequences of each decision.

I use SolidWorks, Rhinoceros, SpaceClaim, KeyShot and Adobe Creative Cloud across concept development, CAD, technical documentation, visualization and presentation. I also rely on physical measurements, material samples, prototypes and direct workshop feedback. A digital model becomes meaningful only when it is tested against manufacturing and real human use.

Color, material and surroundings determine how an object is perceived and experienced. Material affects structure, touch, aging and production; color controls emphasis and emotional tone; ambient light and context can change both. I consider them together so that a piece belongs in its environment while retaining its own identity.

I would like people to ask why each decision was made and how the design moved from concept to production. Those questions create a conversation about the invisible work behind proportion, comfort, construction and detail, rather than treating design as surface styling.

My first reaction is curiosity: why does it feel so resolved, and which decisions made that possible? I look at the relationship between purpose, form, material and construction. A great product usually makes me want to understand both the designer's insight and the manufacturer's intelligence.

My ideal partner is open-minded, technically knowledgeable and willing to challenge ideas constructively. I strongly believe in co-design when responsibilities and objectives are clear. Dialogue with engineers, craftspeople, manufacturers, clients and users can reveal solutions that no individual discipline would reach alone.

The craftspeople and production specialists I have worked with have had a particularly strong influence on me. They taught me to see drawings as instructions with physical consequences. Clients and colleagues across different countries also helped me understand that good design must communicate across professional and cultural boundaries.

Dieter Rams' *As Little Design as Possible*, Donald Norman's *The Design of Everyday Things*

I developed my skills by combining study with repeated professional responsibility. More than a decade of projects required me to move from concepts to CAD, shop drawings, prototypes, supplier coordination, quality control and installation. Leading over fifty bespoke projects at Faustine Furniture, developing more than one hundred custom projects through EP Design & Creative and directing complex work at DGN London turned individual skills into a complete design process.

I would like to speak with Leonardo da Vinci about the relationship between observation, invention, art and engineering. I would be interested not only in his finished ideas, but in how he recorded questions and moved between disciplines without accepting the boundaries between them.

I am grateful for the recognition, including the Gold Award at the London Design Awards 2025, the SIT Furniture Design Award 2026 Honorable Mention, two A' Design Award Bronze awards and two AsiaStar Packaging Awards. I do not think of recognition as fame. Awards are encouraging because they place the work in an international context, but they also create responsibility to keep improving rather than relying on previous achievements.

My favourite colour is Orange, fav place is NYC. Favourite food, nothing beats a good burger. My favourite thing is my iPad and the brand that I admire is Apple.

During one furniture prototype review, the plan was for the client to sit in the chair for a few minutes while we checked the comfort and proportions. The client sat down, the meeting continued, and almost an hour later we realized that he had never stood up. We had been discussing finishes, production and delivery while he remained completely comfortable in the prototype. Everyone laughed when I finally said that the most convincing test result was that we had forgotten we were conducting a test. It reminded me that successful furniture often proves itself quietly through use rather than explanation.

A great day is one in which a difficult detail becomes clear or a prototype confirms that an idea works in reality. Progress motivates me more than waiting for inspiration. I break complex projects into answerable questions, and each resolved question creates momentum for the next.

Can't say for sure, you need to ask that to my parents.

A thousand years is beyond reliable prediction, but I hope design will move from extracting resources toward maintaining regenerative systems. Objects and environments may become adaptive, locally produced and deeply integrated with intelligent technology. Yet fundamental human needs for comfort, meaning, identity and connection will probably remain recognizable.

My work is shaped by the belief that creative character and technical discipline strengthen one another. From home appliances and transportation to bespoke furniture, I have always tried to understand how an idea will live in the real world. I value the manufacturers, craftspeople, clients and colleagues who make that possible, and I hope my work encourages younger designers to engage as seriously with production as they do with form.

I work with an independent and hands-on design approach. My practice brings together product thinking, visual development, prototyping and preparation for production. I prefer to stay closely involved throughout the process, from identifying the original need to refining details and presenting the finished product to its audience. I'm currently working full time as a Project Manager / Lead Furniture Designer for DGN London, and have my own design consultation company under the name Luna Nova Design LTD.

For me, design is the process of turning a real need into a clear, useful and meaningful solution. A successful design should make life easier, communicate its purpose naturally and remain visually balanced. It is not decoration added at the end; it is the logic that connects function, material, form and user experience.

I most enjoy designing functional objects for everyday spaces. I am drawn to products that solve a visible problem but also improve the atmosphere of their environment. Objects that combine utility, customization and a clean visual identity are particularly rewarding to develop.

My favorite design is the Tram, which I designed for Bozankaya. Which is basically an e-Tram.

he first product I designed for a company was a cutlery tray for a dishwasher at Beko. It was an important early experience because even a familiar household component must respond to many practical requirements, including efficient use of space, ease of loading, cleaning performance, durability and manufacturing constraints. The project showed me how thoughtful design can improve a routine interaction that users may otherwise take for granted.

I am most interested in materials and technologies that make precise, repeatable and customizable production possible. Digital design tools are especially valuable because they allow me to test proportions, patterns and construction details before production. I choose materials according to the product's function, durability, finish and environmental context rather than treating one material as suitable for every project.

I feel most creative when I have a clearly defined problem and enough freedom to explore several solutions. Constraints often help me focus. Quiet observation, sketching alternatives and testing ideas through prototypes usually lead to my strongest work.

I focus first on function, proportion and the user's interaction with the object. I then pay close attention to construction, airflow or access requirements where relevant, material behavior, durability and visual simplicity. The goal is for every detail to have a reason for being there.

Designing creates a mixture of curiosity, concentration and optimism. The early stage is exploratory, while refinement requires patience and discipline. I enjoy the moment when separate decisions begin to support one another and the design becomes coherent.

Seeing a design become a real object is deeply satisfying, but it also makes me more observant. I immediately notice how people interact with it and what could be improved. Realization is both a conclusion and the beginning of the next learning cycle.

A successful design solves the intended problem clearly, works reliably and feels appropriate in its context. It should be understandable without unnecessary explanation and should continue to satisfy the user after the first visual impression has passed. Good design also respects production realities, materials and resources.

I first ask whether the design fulfills its purpose and whether it is easy to understand and use. Then I consider proportion, construction, material choice, durability and the quality of the details. A visually attractive object is not successful if it creates new practical problems.

Designers are responsible for considering the full consequences of what they create. This includes material use, longevity, repairability, efficient production and the way a product affects daily life. We should avoid unnecessary complexity and waste, create objects that people can value for longer and communicate honestly about what a design can do.

Design is becoming more connected, customizable and data-informed, while digital fabrication is reducing the distance between idea and production. Artificial intelligence will accelerate exploration and visualization, but human judgment will remain essential for defining the right problem, understanding context and making responsible choices. The future belongs to designers who can combine technology with empathy, craft and systems thinking.

My last exhibition was at Clerkenwell Design Week last year, we're planning on attending Orgatec next year.

My inspiration usually begins with observing ordinary spaces and noticing where function and visual harmony are in conflict. Architecture, interiors, geometric patterns, materials, manufacturing methods and customer feedback all influence my work. I feed my creativity by looking beyond the immediate product category and studying how other disciplines solve related problems.

I would describe my style as functional, contemporary and quietly decorative. I prefer clear forms, controlled geometry and details that add character without overwhelming the object. This approach developed from my belief that practical products can contribute to the atmosphere of a space while remaining honest about their function.

I live in London. My cultural background influences my sensitivity to pattern, craftsmanship, domestic space and the relationship between practical objects and decoration. Living here provides a rich visual heritage and a strong awareness of making, although access to particular materials, suppliers or production technologies can sometimes shape what is feasible. These constraints often encourage more resourceful solutions.

I begin by clarifying the real objective, user needs, technical constraints, budget and production context. I then develop and compare concepts, communicate decisions visually and refine the selected direction through feedback and testing. I value direct communication, clear responsibilities and early involvement of manufacturing partners.

Companies should share the problem openly rather than prescribing a solution too early. A good designer asks precise questions, understands both users and production realities, explains the reasoning behind decisions and responds constructively to feedback. Portfolios are important, but process, communication and the ability to handle constraints are equally revealing.

My process starts with observation and problem definition. I identify the essential functional and emotional requirements, research the context and develop several possible directions. Sketches and digital models help me test proportion and construction; prototypes reveal what drawings cannot. I refine the strongest solution through repeated evaluation until function, production and appearance feel integrated.

Five product designs I admire and would choose for my home are the Bialetti Moka Express, the Anglepoise Type 75 desk lamp, the Victorinox Fibrox chef’s knife, the IKEA POÄNG armchair and the Bodum Chambord French press. The Moka Express is an excellent example of an iconic form shaped by function. The Type 75 lamp combines mechanical clarity with effortless adjustability, while the Fibrox knife demonstrates the importance of balance, grip and durability. The POÄNG armchair achieves comfort through a simple and economical structure, and the Chambord makes its brewing process visually understandable. Together, these products show that good design can be accessible, long-lasting and enjoyable to use every day.

My day usually moves between focused design work, practical problem-solving and communication. I review priorities, develop or refine concepts, check technical details and study how the work will be produced and presented. I also make time for observation and research, because useful ideas often come from daily life rather than from sitting continuously in front of a screen.

Learn to observe before trying to impress. Define the problem clearly, make many alternatives and test ideas as early as possible. Do not become attached to the first attractive solution. Understand materials and production, listen carefully to users and treat constraints as part of the creative process. Most importantly, build a body of finished work; completion teaches lessons that concepts alone cannot.

The greatest positive is the ability to turn an observation into something useful and tangible. Design offers continuous learning and the satisfaction of improving people's experience. The difficult side is that good work requires many invisible decisions, revisions and compromises. Balancing creative ambition with time, cost and production constraints can be demanding, but it also makes the outcome more meaningful.

Every decision should serve the purpose of the design. If a feature does not improve function, understanding, durability or emotional value, it should be questioned.

Observation, empathy and clear problem definition are fundamental. A designer also needs visual judgment, technical curiosity, communication skills, persistence and the ability to accept criticism without losing the core intention of the work. Knowing how to prototype and evaluate ideas is as important as generating them.

My toolbox combines sketching, reference research, digital drawing and modeling, image development, measurement and physical prototyping. I use the tool that can answer the current question most efficiently: a quick sketch for direction, a digital model for proportion and construction, and a prototype for real-world behavior. Material samples, supplier knowledge, customer feedback and close observation are also essential design tools. My go to's are Solidworks, Photoshop and Rhino.

I divide projects into clear stages and define the key decision required at each stage. I prioritize the issues that carry the most risk, such as function, dimensions and production feasibility, before polishing secondary details. Regular reviews and simple prototypes prevent me from spending too much time developing an idea that does not work.

The duration depends on complexity, testing and production requirements. A straightforward product may reach a strong prototype in a few weeks, while a more technical or customizable object can require several months of development and refinement. I prefer to define time according to the questions that must be answered rather than promising an arbitrary schedule.

One of the most frequent questions is, "Where did this idea come from?" My answer is usually that the idea began with a small, recurring problem that people had accepted as normal. Design often starts by deciding that an ordinary frustration deserves a better solution.

My most important professional experience has been working as Project Manager and Lead Furniture Designer at DGN London, where I lead bespoke furniture projects for luxury hospitality and high-end residential interiors across the UK and Europe. The role brings together every aspect of my experience: concept development, detailed shop drawings, client communication, international manufacturing coordination, quality control and installation. Designing the Angela Chair, which received a Gold Award at the London Design Awards 2025, and the Ashford Lounge Chair, which received an Honorable Mention at the SIT Furniture Design Award 2026, were particularly meaningful milestones, as was representing DGN London at Clerkenwell Design Week. This experience has taught me how to protect a strong creative idea while managing the technical precision, collaboration and production discipline required to bring it successfully into the real world.

The most known one is Soho House. The Ned, Kimpton Fitzroy, and interior designers around the world.

I enjoy projects where a clear functional challenge can lead to a visually distinctive product. These projects allow me to work across research, form, construction, customization and user experience. I find the process especially rewarding when the final object makes an overlooked part of everyday life feel more considered, but mostly we can say I love designing furniture.

I plan to continue developing functional products for interiors, expanding the range of customizable solutions and refining how they are produced and delivered. I am also interested in collaborations that connect product design with architecture, interiors and digital fabrication. The next step is to build a coherent family of objects around the same principle: practical necessities can also contribute positively to a space.

I develop the core design direction myself and stay closely involved in the details. At the same time, good products depend on collaboration with manufacturers, suppliers, technical specialists and customers. I see authorship and collaboration as complementary: a clear design vision becomes stronger when informed by relevant expertise.

I am exploring further products that help visually integrate necessary technical elements into living and working spaces. The focus is on adaptable dimensions, efficient production, simple installation and a choice of visual treatments. Next year we'll be introducing an AI powered home appliance which I'm pretty excited about.

People can contact me through hello@emrepektas.com, www.emrepektas.com, or @emrpkts. I am open to product inquiries, professional collaborations and conversations with architects, interior designers and manufacturers

I believe meaningful design often begins with objects and situations that are easy to overlook. My aim is to pay attention to those moments and create solutions that are useful, visually considered and realistic to produce. I want my work to show that everyday function and personal expression do not need to be separated.