Shahad Alazzaz

INTUITION/IMAGINATION

?: How does intuition present itself to you – in form of a suspicious impression, a spontaneous visualisation or whatever - maybe in dreams?

I am a highly visual person. I tend to connect with my thoughts through visual interpretation, and I understand and communicate concepts best through sketches, drawings, boards, and other visual tools. For that reason, I believe my intuition presents itself primarily through visual absorption — images, spatial relationships, and atmospheres rather than words alone.

?: Will any ideas be written down immediately and archived?

I write everything down. Some may consider that old school, but for me it is the most effective way to stay organized. I carry a notepad and a printed calendar with me at all times. As for our professional work, yes — all designs are carefully documented and archived internally.

?: Do you feel that new creative ideas come as a whole or do you get like a little seed of inspiration that evolves into something else and has to be realized by endless trials and errors in form of constant developments until the final result?

Most ideas begin humbly, but with a clear sense of excitement about their potential. When I start with a small seed, I trust that it can grow into something much larger. I follow my intuition and commit to the process, even when I encounter obstacles. When I believe in an idea, I persist — nudging, refining, and developing it until it reaches its full potential.

?: What if there is a deadline, but no intuition? Does the first fuel the latter maybe?

Deadlines are extremely important to me; they act as a governing line of action. That said, I never submit work simply for the sake of meeting a deadline. It is essential to deliver work that genuinely resonates and leaves an impact. Achieving this consistently requires meticulous planning and sustained effort. Meeting deadlines with work you can truly stand behind is never simple, but it is a standard I hold myself to.

INSPIRATION

?: What inspires you and how do you stimulate this special form of imaginativeness?

I draw inspiration from my environment — from stories, memories, and conversations, as well as from the work of other artists. The world is vast, and I feel fortunate to have access to such an abundance of inspiration.

?: How do you filter between ideas that are worthwhile pursuing and bad ones that you just let go of?

I prefer to give most ideas an opportunity to develop. Often, clients play a role in filtering concepts. Collaboration is also key — working closely with my team helps clarify and strengthen ideas, and that collective process often reveals which concepts carry the greatest potential.

?: Does an idea need to appeal to you primarily or is its commercial potential an essential factor?

An idea must resonate with me first. We sometimes receive inquiries that are commercially attractive but misaligned with my design philosophy. In those cases, I choose to step away, as I believe true value can only be added when there is genuine alignment between the project and our approach.

?: Do you revisit old ideas or check what colleagues or competitors are up to at times?

I do try to stay informed about what other designers are doing, although I admit that finding sufficient time for this can be challenging. Revisiting ideas happens naturally, especially when new contexts allow them to evolve differently.

CREATIVITY

?: What time or environment best suits your creative work process — for example, a time and place of tranquility or of pressure?

I am very much a morning person. I value my morning routine — arriving at the office early, checking in with the team, and reviewing progress. Occasionally, I like to change that rhythm by starting the day with site visits. Seeing our designs take shape in the built environment is both refreshing and deeply rewarding.

?: What’s better in the realization process — for example, speed and forcing creativity by grasping the magic of the moment or a slow, ripening process for implementation and elaboration?

I believe design needs time to mature. I am strongly opposed to rushing the creative process, and I have often turned down projects when the allotted design timeframe is too restrictive. Quality requires patience.

?: How important are self-doubt and criticism by others during such a process?

Peer review is not only welcome but encouraged. I often see team members seeking feedback from one another, and I believe this strengthens our work. A fresh perspective can significantly improve a design while keeping the project’s core intentions intact.

?: Is it better to be creative on your own, to trust only your own instincts, or to work in a team?

This was a learning process for me. In the early days of the practice, I was slower to fully trust the team. Over time, I learned to let go and empower others. With the team’s support, we are now able to take on larger and more complex projects than ever before.

?: Should a creative person always stay true to him- or herself, including taking risks and going against the flow, or must the person, for reasons of commercial survival, make concessions to the demands of the market, the wishes of clients and the audience’s expectations?

Early on, I developed a strong design philosophy that later evolved into a clear corporate strategy. Having a commercial structure aligned with my artistic intuition allows me to navigate challenges without compromising my values. This alignment helps me move forward even during difficult moments. Because our business strategy is closely aligned with our design philosophy, this dilemma rarely arises. That alignment removes the tension between creativity and commerce from our day-to-day work.

?: How are innovation and improvement possible if you’ve established a distinctive style? Is it good to be ahead of your time, even if you hazard not being understood?

When I design, I answer to two forces: my design philosophy and the client’s needs. Once those are aligned, innovation becomes essential. Continuous growth prevents repetition and ensures that each project adds something new rather than simply reiterating past work.

?: When does the time come to end the creative process, to be content and set the final result free? Or is it always a work-in-progress, with an endless possibility of improvement?

Our workflow follows internationally recognized design stages, each with clear deliverables and timelines. While design always allows room for refinement, projects typically reach a defined conclusion with a clear and complete outcome.

SUCCESS

“Success is the ability to go from one failure to another with no loss of enthusiasm.” Do you agree with Winston Churchill‘s quote?

Success certainly requires perseverance, and in that sense I agree with the quote. However, I do not believe it fully defines success. For me, success also involves clarity of purpose, consistency, and long-term impact.

?: Should or can you resist the temptation to recycle a ‘formula’ you're successful with?

I don’t see an issue with relying on a proven process. I know what it takes to produce meaningful, beautiful design, and I remain committed to that process every time.

?: Is it desirable to create an ultimate or timeless work? Doesn’t “top of the ladder” bring up the question, “What’s next?” — that is, isn’t such a personal peak “the end”?

This is something I actively aspire to. I am grateful that I believe our projects can stand the test of time. That said, I am still searching for an architectural icon — a project that becomes a lasting legacy across generations.

MY FAVOURITE WORK:

It's hard for me to single out one project only. I think all of our projects are very representative of our firm, or at least our journey of growth. Surely, our projects have evolved from our first projects. But so have I and Azaz Architects.