Eight architectural projects, from the first image to a studio website.

The work began with one question: how can a building be experienced before it is built? The first project was a single-storey house with a garden. Over time the collection grew to include a two-storey house, an apartment building, a boutique shopping centre, two residential estates, a neighbourhood courtyard and a mixed-use city square.

It was clear from the outset that one striking image per project would not be enough. Visitors needed to see each building from the outside and the inside, compare its rooms before and after they are furnished, and stand at particular points to look around.

I modelled the buildings in Blender and developed every image through successive review rounds, moving from schematic massing studies to the point where materials, light, shadow and landscape read convincingly. AI-assisted image generation supports that stage. The results are concept visualisations, not photographs of built projects.

Every interior was produced twice from the same camera position: empty and furnished. The difference between the two therefore reads as the transformation of one room rather than as two separate pictures. The garden house and the apartment building are also documented with floor plans.

For the city-scale projects, eleven spherical renders at 8192 × 4096 let a visitor look around from a fixed stop and then move to the next. The two-storey house can be explored freely as a model. Naming these two formats accurately was part of the work: a fixed-point panorama is not a free walkthrough.

The earlier version of the site presented the same projects through large headlines, scroll-driven scenes and a long home page on which each project appeared in three different places. It asked visitors to read at length before they reached the images.

The redesign rests on a single principle: the images come first. The reference was an interior architecture studio whose site presents every project as one full-screen image carrying only its name. The name and identity were renewed in the same process: the studio became HEC. Design, and the orange point in its wordmark is the only colour accent on the site.

On the home page every project is a panel that fills the screen. As the visitor scrolls, each new panel slides over the previous one, leaving only the project's name and category at the centre. The visual language is built on black, white and a light weight of Inter, so that colour comes only from the images.

Navigation is reduced to three links — projects, spaces and studio — alongside a Turkish–English language switch. While the panels change, the contact details stay fixed in the bottom-left corner.

The projects page offers a three-column grid and three filters: residential, estates and neighbourhoods, retail and mixed use. Where a room exists both empty and furnished, the page turns the pair into a comparison slider automatically. Every page is generated in both languages from a single project file by a small build script, so the Turkish and English versions can never drift apart.

Twenty-seven of the images are 360° panoramas. Cropped to fill the screen, their straight lines bent and the rooms looked different from what they are. Panoramas are therefore always shown whole, labelled 360°, and never used as a cover on any page.

The images are published at the quality they were produced in — not resized and not recompressed. To manage page weight, each image loads only as it approaches the screen. The opening title does not wait for its image and is readable from the first moment.

Sixty-nine images, four plans and their associated tours, across eight project pages, brought together in a twenty-four-page website in Turkish and English.

I checked the menu, the filters, the comparison slider, the language switch and horizontal overflow at desktop and phone widths. These are pre-release quality checks; the project makes no claim about visitor numbers or commercial results.