BIOGRAFIE

My name is Farra, and I am an Interior Architecture student at KULeuven in Ghent. After completing my secondary studies in Economics and Sciences, I started a degree in Engineering Architecture. Although this allowed me to further develop my interest in architecture, I missed the creative and spatial aspect in which I could express my personal vision.

That search led me to Interior Architecture—a field that combines technology and aesthetics, and where the experience of space is central. Here, I found the balance between thinking and creating, and the freedom to use my designs to create a real atmosphere and identity.

I studied piano and accordion at the Servais Academy in Halle. Music is part of my daily routine; it teaches me to think in terms of rhythm, tone, and atmosphere—qualities that I also translate into interior design.
Like music, a space has its own dynamics: it can energize or bring peace. Music helps me sense the mood I want to evoke in a design.
That search led me to interior design — a field where technology and aesthetics come together, and where the experience of space is central. Here I found the balance between thinking and creating, and the freedom to establish a real atmosphere and identity with my designs.

Photography has taught me to look more consciously: at light, lines, materials, and composition. I incorporate this way of observing into my work as an interior architect. A good image—just like a good design—captures not only a form, but also a feeling. That quest led me to interior architecture — a field where technology and aesthetics come together, and where the experience of space is central. Here I found the balance between thinking and creating, and the freedom to use my designs to create a real atmosphere and identity.

Invisible Women – Caroline Criado Perez
I discovered this book unexpectedly during a piano internship at the Lemmens Institute in Leuven. An international Italian pianist, who taught me there, recommended it to me when I was struggling with the fingering of a piece. He told me that the piano was originally designed based on the male hand — a comment that stuck with me.

Invisible Women opened my eyes to how design—including interior design—often starts from a single standard body type: the male. Since then, I have become much more aware of the influence of data, gender, and use in spatial design. The book has fundamentally changed my perspective as a future interior designer.