Interview about Topkapi Sideboard, winner of the A' Furniture Design Award 2025
Topkapi is a sideboard that blends traditional woodworking with modern technology. Its design features geometric motifs rooted in Turkish-Islamic art and Anatolian heritage, drawing inspiration from Topkapi Palace and the Blue Mosque. Crafted with high-quality lacquer, natural wood, brass details, and patina brushed copper, the piece integrates Cnc precision with artisanal handcrafting to connect historical tradition with contemporary production methods.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsWhen designing the Topkapi Sideboard, I was fascinated by the intricate geometry found in Turkish-Islamic art, especially the Zencerek border motifs and the layered Mukarnas forms. My goal was to reinterpret these deeply symbolic patterns using modern methods, so they could be appreciated not only as decorative references but as part of the structure itself. Through CNC carving, we gave these motifs physical depth, while still preserving their rhythmic elegance. It was a way to bridge time, honoring centuries-old design language within a contemporary, functional form.
The six blue legs are a subtle homage to the Blue Mosque’s iconic minarets. These architectural forms have always struck me with their vertical clarity and balance. I wanted to translate that same presence into the base of the sideboard, not only for visual reference but also to lift the structure gracefully. Functionally, the legs provide solid support while visually lightening the mass of the piece. Their color was carefully chosen to echo the deep blue Iznik tiles found in Ottoman architecture, bringing a serene yet bold accent to the design.
Combining CNC carving with hand-finishing was both challenging and rewarding. The geometric patterns required high precision to look consistent across panels, so we started with digital modeling and CNC milling to define the structure. But to avoid a flat, mechanical finish, each piece was then hand-sanded and softened to bring out a more natural texture. Aligning these two processes took time, we had to recalibrate tools to avoid damaging delicate edges. In the end, this hybrid method allowed us to highlight the depth and character of each motif in a way that felt both crafted and contemporary.
Spending time in the gardens of Topkapi Palace allowed me to slow down and really absorb the layered richness of Ottoman design. I wasn’t just looking at patterns. I was experiencing how they existed in space, how they filtered light, framed views, and created rhythm within stillness. The Mukarnas details on ceilings and the delicate Zencerek borders along walls and tiles gave me a sense of visual flow that I wanted to translate into the sideboard. Rather than treating them as surface decoration, I tried to interpret these motifs as structural expressions, letting their repetition and layering guide the rhythm of the cabinet doors. It became about capturing a feeling, not replicating a style.
For me, combining brass detailing with modern lacquer finishes was about creating a dialogue between time periods. The brass adds a sense of richness and heritage, while the lacquer offers clarity and contrast. I didn’t want the piece to feel too historical or too futuristic. Instead, the idea was to let each material highlight the other’s character. The glossy lacquer surface reflects light in a way that sets off the warmth of the brass, and together they create a balanced, layered aesthetic that feels rooted yet fresh.
The choice of deep red tones for the interior was inspired by the rich textile palettes often found in Ottoman interiors, especially in private rooms and tented pavilions. It evokes warmth, mystery, and a sense of intimacy. I also wanted the interior to contrast with the cooler tones of the exterior, much like how historical architecture often surprises you with unexpected color and ornament inside. This red doesn’t dominate but quietly supports the narrative of East meeting West, and tradition blending with modernity.
The copper top panel was developed through a process of hand-brushing and patina treatment, allowing each piece to have a slightly different finish. This artisanal technique gives the copper a weathered look that tells a visual story, much like the aged metal details found in historic gates or ceremonial objects. We didn’t want a shiny surface; we wanted something that felt like it had a past. This element helps ground the sideboard and deepens the cultural connection, making it feel like more than just a storage unit, it becomes a narrative object.
We spent a lot of time making sure the interior worked just as well as the exterior looked. The artistic facade is bold and detailed, but inside, the layout is clean and highly functional. Adjustable shelves and soft-close drawer make it suitable for everything from dining ware to documents. We made sure the outer design didn’t interfere with the usability. In fact, the structural decisions for the decorative panels were coordinated with the internal divisions, so the function and form could truly support one another.
This project reinforced my belief that the future of furniture design lies in meaningful storytelling combined with modern technique. We no longer need to choose between old and new, we can merge them thoughtfully. Working on the Topkapi Sideboard taught me how powerful it can be to bring cultural references into everyday objects, as long as they are handled with care and authenticity. It also showed me how digital tools can serve craftsmanship rather than replace it, which is a lesson I carry into every new project.
Winning the Silver A' Design Award with the Topkapi Sideboard has been both an honor and a turning point. It encouraged us at QZENS to continue exploring culturally rooted design with a modern sensibility. This piece opened the door to thinking more boldly about how heritage can inform innovation, not just aesthetically, but conceptually. I see it influencing future collections by encouraging deeper research, richer materiality, and a continued focus on storytelling as the core of design.
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