Born in a small village and raised among trees, handmade toys, and matchstick sculptures, Istanbul-based designer Salih Aydin grew up immersed in imagination. That curiosity never left him—it simply evolved, from exploring the forest to exploring pixels. Today, Salih is shaping Istanbul’s creative scene as the City Host of The Design Kids, creating space for students and studios to connect, collaborate, and thrive. With a deeply thoughtful approach to design, storytelling, and community-building, he’s helping make the local industry more inclusive, more intentional—and a little more human.
Can you share the moment or experience that sparked your passion for design?
I grew up in a small village in Bolu, where we made our own toys from wooden sticks, matchboxes, stones—anything we could find. Not because we couldn’t afford real toys, but because we loved creating them. My father would build intricate models from matches and carve wooden knives and swords from tree branches for us. Inspired by him, I spent my days exploring the forest, always searching for something new to make. It was a world of endless curiosity—wild, unfiltered imagination. Looking back, I realize that’s where my creativity came from.
When we moved to Istanbul when I was 10, I felt a bit lost. My playground was gone. Years later, in high school, my dad bought us our first computer, and suddenly, there was a whole new world to explore. I dived into websites, apps, and tutorials, eager to understand the digital landscape. I started experimenting with Macromedia Flash, Fireworks, and Photoshop. At first, it was just play—until I landed an internship at a startup. That was the turning point. For the first time, I was getting paid to design.
Why did you want to become a TDK City Host?
When Frankie first introduced #TDKTuesdays to us during the 2020 Designer’s Bootcamp, I realized what was missing in my city. I wanted to bring this series to Istanbul, but the pandemic put everything on hold. When things started moving again in 2023, I knew it was the right time. My goal was to connect students with industry experts while also introducing local design studios to a global audience through The Design Kids.
As a self-taught designer, my journey was long and challenging, so I know firsthand how difficult it can be to pursue what you truly love. Nowadays, turning passion into a sustainable career feels like a luxury. That’s why I saw this as an opportunity to help young designers build their networks, find mentorship, and connect with their dream studios.
It all started as a small initiative in Istanbul. At the time, I only knew a handful of people in the industry. But that’s how life works—big things grow from small beginnings if you nurture them. Just like Frankie’s incredible journey of building TDK from scratch, I was determined to create something meaningful. It takes time for people to understand what you’re trying to do, especially when they don’t see the creative process behind it. That’s why consistency matters—you have to keep going.
Now, with the support of amazing studios in Istanbul, we’re organizing monthly events together. A dedicated group of students shows up every time, and the feedback I receive keeps me motivated. So, I just keep going—hoping to reach and support even more design students through The Design Kids.
Tell us about your plans for up and coming TDK Tuesdays.
I'm working to create a space where everyone feels included—connecting creatives at all levels, from students to seasoned creative directors. My goal is to open more doors for students, giving them a real chance to find their place in the industry. That’s why I listen to them, ask what they need, and share insights with The Design Kids so we can find meaningful ways to support them. Right now, we’re also exploring opportunities to help students navigate the Erasmus program.
Beyond that, I’d love to bring global talents and studios to Istanbul for talks and workshops, making design education from different parts of the world more accessible to local creatives. I’m also planning hands-on events where we can experiment, create, and learn by doing. In the near future, I want to launch an online series—a space where we can catch up weekly, share wins, and support each other as we work on our portfolios and career goals.
Who are your favourite local designers?
This list could go on forever. However, I really love the work of Can Dağlı. He’s a perfect example of a modern-day craftsman. I love how he continues to create by hand while seamlessly integrating digital tools, striking the perfect balance between craftsmanship and technology.
I admire how Oğul Öztunç approaches design with such intentionality—whether it’s an architecture or graphic design project, his work always feels fresh.
As a big typography lover, I have to mention Erman Yılmaz His work at Informal Project is a testament to how much can be achieved through typography alone—it’s truly inspiring.
I also deeply appreciate what Onur Gökalp is building at Monroe. His creative leadership fosters an environment where his team members can truly find themselves and evolve together. I’ve met so many talented designers who once worked with him, and his impact on Istanbul’s design scene is undeniable.
What is the creative scene in your city like?
Istanbul’s design scene is vibrant, diverse, and constantly evolving—fueled by fresh talent, new events, and ambitious studios. It’s a place where the community is as supportive as it is inspiring. Whether you’re a recent graduate finding your way or a global brand looking to collaborate, there’s never been a better time to be a designer—or a client—in Istanbul.
And of course, we can’t talk about the scene without mentioning some incredible studios. Ba’ndo injects fun into everything they create, while Flama Design House masterfully blends digital and handcrafted elements into maximalist masterpieces. Monroe takes simplicity to an obsessive level, where every detail feels intentional. Ait Istanbul is making social media feel more human—for brands and everyone else. Studio These Days turns bold ideas into reality through a multidisciplinary approach, while Informal Project pushes the boundaries of typography. And then there’s Piknik, tackling imposter syndrome with thoughtful designs and performative installations.
What up and coming creative events in your city are you most excited about?
I am excited about ISType, the GMK Graphic Design Exhibition, Mercado Design Days, Contemporary Istanbul, the Upcycle Istanbul Art & Design Festival, as well as various events from SALT. I'm also a big fan of exhibitions from galleries like Istanbul Modern, Meşher, Pera, and Arter.
What is your favourite place for coffee, drinks and design chats with friends, in your city?
My go-to cafes are Montag and Meet Lab in Kadıköy. I prefer working in cafes over co-working spaces. I also enjoy visiting galleries and libraries with friends for design chats. In Istanbul, it often turns into a photo walk, and I absolutely love it.
What is the best design school in your city?
I think it's Mimar Sinan Fine Arts University alongside Marmara University Faculty of Fine Arts.
Tell us about some local co-working spaces that designers will love.
I like CoBAC in the European side and Tio Space with IDEA Kadıköy in the Anatolian side.
What are the core values or philosophies that guide your creative practice?
I take a pretty down-to-earth approach to design. I don’t like when design becomes just another tool for capitalism. It should provide solutions, make life easier, and help people—and the planet. That’s why I don’t enjoy designing for marketing; I like to design for experience. I believe good design blends into life, doing its job so seamlessly that we barely notice it—just like perfectly set typography in a book, where we focus on the story, not the letters. That’s the kind of design I strive for.
As humans, we’re always chasing the new, the better, the more advanced. But in doing so, we often overlook the beauty that’s already there. I love noticing those details and bringing them into my work. I believe design can be both harmless and cool—it doesn’t have to exploit or manipulate to be effective.
So these days, I’m after timelessness, experience, and ethics. And I’ve always followed a multidisciplinary perspective. Whether it’s design, animation, or photography, they’re all just different tools for storytelling. At the end of the day, it’s not about the medium or the tools—it’s the ideas that matter most.
