Yda Center Office Design

During the interior design process of our office, we aimed to create a contemporary and sophisticated atmosphere. In this direction, we designed custom parametric wall coverings to strengthen the architectural identity of the space. While forming our color palette, we utilized the dynamic harmony of white, black, and orange tones. This color combination emphasizes our business partner's corporate identity while offering an aesthetic that befits clean, spacious, and modern office designs throughout the space.

In our reception area, we preferred a black reception desk paired with white waiting armchairs creating a sharp contrast. The modern graphic patterns we applied on the wall surfaces bring a dynamic rhythm to the space while establishing a focal point. By blending functionality and aesthetics in a delicate balance within our design philosophy, we transformed our office into a comfortable and productive living space for both our team and our guests. We aimed for this welcoming zone, one of the most critical touchpoints of our corporate identity, to project a professional and innovative image to our visitors upon their first contact; our reception desk featuring a parametric form, which we curated in line with this vision, flawlessly brings this concept to life. This custom-designed counter, which seamlessly integrates with our office decor concept, complements the dominant palette of white and gray tones. The fluid parametric surfaces add both a sculptural aesthetic and ergonomic solutions to the space. This aforementioned counter not only provides sufficient volumetric capacity for our guests to comfortably position themselves and wait, but it also serves as a functional advisory point where they can receive guidance regarding office operations.

We have positioned our meeting room in close proximity to the reception and entrance area. By incorporating ergonomic seating groups and comfortable chairs, we designed a seamless flow where participants can experience the highest level of comfort. While fully integrating the technical infrastructure within the space, we brought a dynamic atmosphere to the interior through concealed lighting coves and modern pendant lighting elements. We always prioritize functionality and aesthetics in our office interior design processes.

This meeting room, which we designed for the Davinci Energy office, offers an ideal atmosphere for strategic discussions with high efficiency. Our guests experience an extremely comfortable and relaxing environment within the space. Furthermore, the semi-open ceiling concept combined with concealed light strips, featuring modern lines and prioritizing functionality, plays a critical role in enhancing the effectiveness of meetings; in this context, we have reflected our professional interior design approach at the highest level.

In order to maximize the communication and synergy among our employees across departments, we designed an open-plan office layout for the project. The monochrome color palette we preferred throughout the office carries traces of our modern office designs that stand out among Ankara interior design firms, while we supported the dominance of white and gray tones with sleek light bands positioned along the ceiling. Thanks to the special landscaping areas and decorative green niches that we integrated into different points of the space to enhance acoustic comfort and employee well-being, we have successfully created a natural atmosphere befitting the corporate identity.

Thanks to the transparent glass facades positioned across a significant portion of our workspace, our interior receives the maximum level of natural daylight throughout the day. This rich daylight input directly supports the motivation and mental vitality of our team members. As Umut GÜRLER Interior Architecture, with our identity as an Ankara interior design office, we opted for modular glass partition systems in our space planning to avoid interrupting this natural illumination filtering through the facades and to preserve the depth of the interior.

We treated the corridor as a line that guides the passage between rooms without tightening it. On the left we placed the oak-planter vertical garden in front of the glass partition, so the greenery would run the length of the hall and the room behind the glass could still breathe. On the right we joined the vertical timber slats to an orange threshold and tied the orange strip in the carpet to the same line. We pulled the linear ceiling light toward the door at the end, so that once daylight comes through the door the artificial light only completes the path.

In the workspaces, we seamlessly maintained the monochrome color palette that dominates the overall interior. By integrating pastel orange tones, we made an elegant reference to our clients' corporate identity and brand colors.

We built the manager’s office around a wall image tied directly to the company’s work. We kept the wind turbine at the scale of the working wall, so the brand would be present in the room without being reduced to a sign. We solved the guest seating with orange armchairs, preferring the corporate color to sit in one clear place beside the dark desk and credenza. We did not close off the meeting volume behind the glass; the room should keep its own quiet without breaking away from the open office.

In the same room we turned the seating toward the facade. We set the two orange armchairs and the table between them in front of the window, so a short conversation could happen in the daylight without moving to the desk. We left the vertical lining on the working wall plain, so a second pattern would not compete behind the turbine image. We kept the wide glass uncurtained, letting the city complete the depth of the room, and hung the linear fitting only to support the desktop.

Outside the meeting rooms we set a seat that is neither a standing pause nor a formal table. We ringed the round table with four armchairs, preferring a layout where no one sits at the head and everyone speaks from the same level. We placed the ring light directly above the table, so the light would mark where the conversation sits. We recessed the screen into the vertical slat wall on the right, so the television would stay inside the surface instead of reading as a separate piece of furniture. Through the glass we left the open office visible; we did not want the waiting to turn into a closed room.

We extended the manager’s desk as one curved black surface. Instead of leaving a sharp corner we gave it a soft turn toward the seating, so a guest would sit beside the desk rather than across from it. On the back wall we layered timber slats, a dark glass panel and a concealed light band. We set the screen inside that layer, so it would not hang on the wall as a separate frame. We finished the seating on the left with a gray sofa and a cream armchair, so desk work and a more relaxed conversation could share the room while standing on two different grounds.

We read the same seating this time from the screen wall. We turned the vertical white slats into the ground of the television and carried the texture across the whole surface, so the wall would not go blank when the screen is off. We set the dark sofa against a light armchair; a long wait should not be a single kind of seat. We opened the glass door to the terrace and left one leather armchair beside it, so a threshold for stepping outside between conversations would complete the room. We kept the glazed meeting room visible behind, so the lounge and the formal table would not become two disconnected worlds.

We composed the same room from the facade. We left the city open through full-height glass to the right of the desk, so the manager would face the screen on the timber wall rather than turn their back on the view, and the guest would have the light in front of them. We finished the dark credenza under the glass with books and frames, giving the work surface an edge that can be displayed without spreading. We kept the concealed light above and below the panel between the timber slats, so the wall would carry its own light in the evening. We left the green niche behind the glass on the left; we did not want the room’s hard timber and black surfaces to stand alone.

Inside the working floor we built a tea point that can be used between meetings without leaving the office. We held the L-plan tight with dark cabinets; we did not want the counter to spread into the narrow corridor. We clad the back with a marble-patterned surface and left the under-shelf light only on that stone, so cups and service would not disappear inside the dark joinery. Below, we set the glass-front cooler as a continuation of the counter. We opened the door to the terrace, so this point and the outdoor seating would complete each other when drinks are served.

Along the facade we ran a long, narrow counter for sitting. We lined the high chairs on the inner side of the counter rather than against the window, so daylight would fall on the face and the back would turn toward the corridor. We set trailing plants inside the timber trough hung above, preferring the greenery to come down the length of the counter without lowering the ceiling. We covered the right wall with full-height dark cabinets, so storage on this line would not pile up as open shelves. We left the track light on the axis of the counter, so the same line would still read in the evening.

We turned the same counter toward the terrace door. We tied the timber deck, the grass and the glass balustrade back into the interior, so a short break could step outside and continue along the same row. We kept the dark kitchen niche at the end of the counter visible, so coffee and water would not require a separate room. We hung a large abstract work on the wall, wanting one patch of color to finish the gray cabinet run of the long corridor. We carried the hanging planter trough through here as well, so from either end the line would read as the same place.

Where the corridor narrows we left a small work niche without a door. We kept the upper cabinets closed and the middle shelves lit and open, so books would show and personal things would close away. A corner ledge for a laptop and a single channeled stool were enough; we did not want this to become a second room. We pulled the orange strip of the carpet into the niche, so the corridor’s direction would not break here. We lined the side walls with full-height gray cabinets, so the narrow volume would not grow tighter with scattered shelves.