Dmitry Pogorelov

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Dmitry Pogorelov ("DP") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

DP : Considering my education I have three degrees in different fields of design. In 2008 I graduated with honors from Moscow Publishing and Printing College with a degree in graphic design. Then In 2014, I finished a 6-year specialist degree program in transportation design at Stroganov Moscow State Academy of Design and Applied Arts. And In 2017, I completed a 3-year postgraduate degree program in art criticism at the latter institution. Upon completion of the program, I received the qualification "Researcher. Teacher-researcher".

DL: What motivates you to design in general, why did you become a designer?

DP : As an industrial designer, on one hand, I find pleasure in transforming meanings into tangible forms. I create new meanings for people, new ways to perceive life. On the other hand, design for me is a way to share a part of my own personality with others through its objectification – my way of making a non-verbal connection. Of course, more often than not, I capture the personality and goals of the consumer or client in the design product. In this sense, the object becomes a manifestation of the synergy of consciousness: mine, the consumer’s, and those who produce the product. By observing or interacting with an object, one can connect with the consciousness behind it and the mode of existence it represents. Using or consuming an object establishes a direct link between personal consciousness and the collective social consciousness that shaped it, sharing its values. This is the most beautiful thing one can realize when doing industrial design. Through this process, I engage with the consciousness of humanity, which has been shaped by thousands, even millions, of years of evolution, and contribute to sustaining that connection.

DL: Did you choose to become a designer, or you were forced to become one?

DP : My mother took me to art school when I was 5 years old and ever since then art has been a part of my life and design as an organic extension of that path.

DL: What do you design, what type of designs do you wish to design more of?

DP : I like to work with projects where the symbolic and aesthetic component prevails. In this respect, decorative lighting, limited collections and luxury products have the greatest potential for my expertise. But when it comes to finding a corporate identity for a mass product, these tasks also resonate with me.

DL: What should young designers do to become a design legend like you?

DP : To become a true legend, a designer must cultivate passions beyond design itself. Personal discoveries in other areas bring unique depth to design objects. Designers should not limit their growth to their field but explore adjacent disciplines to enrich their perspective. This approach allows design products to connect more deeply with cultural and social contexts. For instance, it’s essential to understand art history, study semiotics as the foundation of visual language, and grasp the cultural and societal meanings of objects. Designers should also explore consumer psychology and how objects shape human perception and consciousness. By broadening their knowledge and skills, young designers can create work that transcends trends and becomes timelessly significant. For example, understanding art history provides valuable perspective, while studying semiotics builds a foundation for mastering visual language. It’s also crucial to grasp the cultural and societal meaning of objects, explore consumer psychology, and understand how design influences human perception and consciousness. Such multidisciplinary knowledge makes design more thoughtful, relevant, and impactful.

DL: What distinguishes between a good designer and a great designer?

DP : In my view, a good designer modernizes existing products. They refine and improve forms without fundamentally changing them. A great designer, however, creates entirely new ways of living, mediated through their design. This is a level of innovation that introduces forms of existence previously unknown to humanity. A great designer establishes new principles of form-making that become cultural benchmarks, canons and set new standards. Their work doesn’t just enhance – it redefines and reshapes the way we perceive and interact with the world.

DL: What makes a good design a really good design, how do you evaluate good design?

DP : When evaluating good design, Dieter Rams’ 10 principles offer a solid foundation. However, I believe good design goes further – it immerses the user in a shared historical and socio-cultural context. It doesn’t sever ties with the past but uncovers new forms rooted in the collective unconscious. A truly good design also reveals the personality of its user – an identity previously unrecognized by society. It reflects their lifestyle, thoughts, and worldview. The role of a good design product is to help integrate this emerging individuality into the broader cultural and social framework. Moreover, good design anticipates and articulates evolving social and cultural trends, shaping and reflecting the philosophy of its time. It is both timeless and forward-looking.

DL: What is the value of good design? Why should everyone invest in good design?

DP : Good design not only makes our lives more functionally efficient but also transforms dreams and imagination into reality. In a world filled with challenges, good design helps us overcome them with joy and ease. Like nature, design brings harmony into our lives, creating a space where we reconnect with the greater whole – our culture. Design and its creations act as a "second nature", a new reality and culture that we build and uncover for ourselves and future generations. By investing in good design, we invest in a brighter, shared future for humanity.

DL: What would you design and who would you design for if you had the time?

DP : I don’t focus on designing specific objects, as the form of a design product is just one way to address a particular problem. My attention lies not on the object itself but on the philosophy it embodies. However, I would love to work with decorative lighting and objects made from materials like marble, glass, carbon, wood, and plastic. These materials are rich in potential and serve as powerful mediums for expressing various ideologies and philosophies. I envision my designs as carrying an educational or enlightening purpose. My ideal audience would be intellectuals, aesthetes, and innovators – individuals who value thought-provoking design and its ability to inspire and connect on a deeper level.

DL: What is the dream project you haven’t yet had time to realize?

DP : I have a couple of projects in mind – tables and lighting fixtures with profound philosophical undertones and intriguing forms. These designs are not just functional objects; they embody deeper concepts and narratives. However, bringing them to life would require the support of investors, as their realization is currently beyond my capacity. Unfortunately, I haven’t found the time to pursue these projects due to the demands of numerous ongoing commitments that require my full attention. Still, they remain a dream I hope to bring to fruition in the future.

DL: What is your secret recipe of success in design, what is your secret ingredient?

DP : The foundation of my projects lies in a strong theoretical base and a broad understanding of design within a larger context. I also draw inspiration from my passion for studying nature and the cosmos, which helps me think not in terms of isolated objects but in terms of their broader context. This approach allows me to think systemically and structurally, focusing on patterns and principles of form-making that transcend specific objects. Instead of narrowing down to the object itself, I aim to express universal truths through my designs. For me, true success in design comes from this ability to connect the individual with the universal.

DL: Who are some other design masters and legends you get inspired from?

DP : I deeply admire the visionary thinking of Zaha Hadid and how it manifests in her design and architectural works. I cannot overlook the unique approach, grandeur and nobility of thought of designer and futurist Jacque Fresco, who inspired me to create at least two projects. Daniel Simon and Konstantin Grcic also influence me with their mastery of geometry and form. Additionally, I admire the creativity and brilliance of Philippe Starck and Karim Rashid in shaping the essence of objects. Coming from a background in transportation design, I find great inspiration in this field as well. Companies like Porsche and Mercedes-Benz, with their innovative ideas and fluid, sculptural forms, have significantly influenced my approach – and traces of this can be seen in some of my own design projects.

DL: What are your favorite designs by other designers, why do you like them?

DP : It’s difficult to single out a specific design object, but if I were to focus on chairs, a few stand out as exceptional examples. Philippe Starck’s Louis Ghost Chair is one of my favorites for how it adapts and transforms historical heritage through contemporary philosophy and technology, creating a truly iconic design product. Konstantin Grcic’s Sultan Chair is another remarkable example, where the simplicity of form-making is elevated by the use of materials like marble to convey the image of heroic pathos. Similarly, Eero Aarnio’s Ball Chair impresses me with how it integrates cosmic themes into a pure geometric form, offering an immersive and futuristic experience. These designs demonstrate how a product can go beyond functionality, placing the user within a unique cultural or conceptual context, which is what great design should do.

DL: What is your greatest design, which aspects of that design makes you think it is great?

DP : My most remarkable design so far is the Zeitgeist Clock, which was awarded the Golden A’ Design Award in 2014 in the Home Appliances Design category. Time is a fundamental element of human existence, and these clocks do more than simply measure it – they embody the contemporary perception of time. In my view, the design captures an objective snapshot of our era through its form and concept. The design’s expressive form was achieved by blending postmodern philosophy with cutting-edge materials, technologies, and principles of form-making. Key features include the use of carbon fiber, LED time indication instead of traditional hands, the deliberate absence of a central clock section, backlighting and a sculptural minimalist aesthetic. Each element works together to tell a story encapsulated within the clock’s design. After receiving the award, the project underwent further refinement to perfect its technical execution, which only enhanced its visual and functional qualities. Ultimately, the Zeitgeist Clock was produced as a limited-edition series, transforming it into a collectible object that bridges art, design, and innovation.

DL: How could people improve themselves to be better designers, what did you do?

DP : Design goes far beyond the utilitarian aspects of an object. A designer is, first and foremost, a storyteller, crafting a narrative that shapes new behaviors and ways of thinking for the user. To be a great storyteller, you must read widely and dive deep into the theory of design and art, while also exploring fields like philosophy, history, marketing, semiotics, psychology, consumer behavior, and systems theory. At the same time, practical disciplines like ergonomics and engineering are essential, though these often come as a natural part of the design process. For me, immersing myself in this multidisciplinary approach has been key to creating design projects of true quality. It allows me to shape my narrative into tangible forms and to become an active participant in helping users achieve their goals through the design products I create.

DL: If you hadn’t become a designer, what would you have done?

DP : I would most likely have pursued astronomy. I’ve always been drawn to exploring fundamental questions about the nature of our universe – what underpins its existence, where it began, and where it will end. These questions provide a framework for understanding where we’ve come from, where we’re headed, and humanity’s place within this vast reality. I’m also deeply interested in psychology. I spend a significant amount of time exploring both my own psyche and the psychology of others. This reflects my desire to understand human nature and uncover the roots of our behavior. As a child, I was fascinated by diving. Looking back, I see it as a metaphor for delving into the unconscious – returning to water as the primal source of all life’s diversity. Each of these passions reveals my intrinsic curiosity about the origins and essence of existence, which inevitably influences my work as a designer.

DL: How do you define design, what is design for you?

DP : I have explored the concept of design in depth, even publishing several academic papers on the subject. Defining design is as complex as defining life itself, so formulating a concise definition is challenging. However, if I were to simplify my perspective, I would offer two definitions. First, design is a form of thinking-activity, systematically determining new forms of thinking-activity, embodying them in a more meaningful and purposeful form for an individual and society. Second, from a philosophical and historical standpoint, design is a historical and ontological way of understanding timeless reality and reproducing the results of that understanding in various cultural forms. Together, these definitions encapsulate how I approach and conceptualize design in my projects, balancing its different dimensions.

DL: Who helped you to reach these heights, who was your biggest supporter?

DP : During my first year at the academy, we were told that we would primarily learn from one another. In many ways, the healthy competition within my group and the constant exchange of ideas helped me achieve certain milestones. In fact, our cohort was considered the strongest by our professors, and to this day, they say there hasn’t been a group as exceptional as ours. As a student, I also had the privilege of collaborating with designers from Renault, who introduced me to innovative approaches to form development. Additionally, my academic journey was significantly shaped by my PhD advisor, a distinguished doctor of art history, who provided invaluable guidance on topics like semiotics and consumer behavior in design. Their mentorship helped refine my understanding of design as both an art and a science.

DL: What helped you to become a great designer?

DP : I come from a background in athletics, having been a medalist and champion in track and field competitions. The drive to excel – to push my limits and outperform competitors – was initially my core motivator in design. However, over time, I realized that true success doesn’t come from rivalry but from self-discovery. This shift in perspective – focusing on self-discovery rather than rivalry – became instrumental in my development. My achievements are rooted in a deep commitment to understanding the reality we live in and translating that understanding into my unique design philosophy.

DL: What were the obstacles you faced before becoming a design master?

DP : One of the biggest challenges I encountered was convincing engineers that the seemingly impossible could be achieved and persuading company directors to see design as more than just a creative pursuit or a tool for making things visually appealing. Many viewed design as purely external – a means of creating beauty – without understanding its deeper strategic role. In 2019, I drew from a variety of sources, including my dissertation, books, lectures by leading marketers, and my own professional experience, to develop a comprehensive course. I delivered this series of 11 lectures at Stroganov Academy for second-year master’s students under the title “The Strategy of Creating a New Product.” Through this experience, I honed my understanding of design as a mechanism that integrates seamlessly into a company’s production and operational processes. This strategic perspective helped me clearly articulate my vision and produce high-quality design products that align with both creative aspirations and business goals.

DL: How do you think designers should present their work?

DP : It all depends on the client, the object, the setting, and the circumstances of the presentation. Every context is unique, which makes it difficult to provide a one-size-fits-all answer. The key lies in understanding the specifics of each situation and tailoring the presentation to resonate with the audience and highlight the project’s value within its particular context.

DL: What’s your next design project, what should we expect from you in future?

DP : Currently, I’m working on the design and branding for a product line of laser equipment and machinery. It’s a highly complex and long-term project, so the results are likely to be unveiled only by the end of 2025, depending on the circumstances. On a more immediate note, I’m also developing a luxury collection that includes a lighting fixture and a table. The concept for this collection is already completed; the next step is bringing it to production. Stay tuned for something truly sophisticated and impactful!

DL: What’s your ultimate goal as a designer?

DP : As someone who strives for perfection, my ideal creation is inherently abstract and might only exist in theory. My ultimate goal as a designer goes beyond crafting objects – it lies in authoring a dissertation or book, developing my own design theory, and founding a design school where I can pass on the knowledge and skills I’ve gained throughout my career. Ultimately, I envision establishing an institute or department dedicated to advancing design theory and translating it into innovative, impactful design products.

DL: What people expect from an esteemed designer such as yourself?

DP : People expect bold and transformative results from me – designs that challenge and redefine the way we perceive objects or the world around us. Often, this involves creating simple yet original solutions that effectively address the tasks at hand.

DL: How does design help create a better society?

DP : A designer must be responsible enough to create objects that contribute to building a better society. But this also raises a rhetorical question: what defines a better society? At its core, design serves as a tool for managing society through cultural objects. By leveraging scientific data and social trends, designers effectively program societal behavior at both the cultural and material levels, shaping values and norms. An accountable designer identifies societal, individual, and environmental issues and introduces thoughtful solutions that maintain balance and foster progress within society. This is how design becomes a catalyst for positive change.

DL: What are you currently working on that you are especially excited about?

DP : At the moment, I am deeply inspired by two ongoing projects. The first is a practical endeavor: developing a luxury collection that includes a marble and brass table and light fixture. The design embraces a bold and striking neo-art deco style, and I’m excited about how the concept is coming to life. The second is more theoretical – delving into the essence of design by exploring its historical and ontological foundations. I believe this area of research hasn’t been thoroughly addressed, leaving unanswered questions about what we truly achieve and define as design. This ambiguity has led to a diversity of theories and perspectives. My theoretical work is just as significant as my practical projects because it profoundly shapes the way I approach and execute design.

DL: Which design projects gave you the most satisfaction, why?

DP : The Zeitgeist clock project was the culmination of my creativity and allowed the company to achieve the desired result. It was a multifaceted project at the time, embodying not only a unique philosophy and my approach to product design as the creation of a narrative, but also seamlessly integrating the company’s competencies and the creative potential of its team members. It was a project where everyone contributed their maximum effort, making it particularly satisfying.

DL: What would you like to see changed in design industry in the coming years?

DP : Design, as a system of shaping society through objects, should, in my opinion, be officially integrated at the political level as a mechanism for societal governance. Designers, who are deeply involved in addressing societal issues at the grassroots level, can contribute valuable design methods and approaches to political activities. Tony Fry explores this concept in his book Design as Politics. Therefore, I would like to see designers unite on the political stage, taking on a more prominent role in societal management – organized and responsible in shaping the built environment, planning cultural development, and supporting ecological sustainability.

DL: Where do you think the design field is headed next?

DP : We are currently experiencing a crisis in all areas of culture, making it difficult to predict the exact future of the design field. When it comes to artificial intelligence, it is likely to soon become a significant competitor to human designers. Given this, I believe designers should focus on pre-project, post-project, or strategic phases of design – gathering insights about societal needs to pass them on to AI for processing, and then analyzing the AI’s design outcomes to refine them. In other words, designers should play a managerial role in guiding society’s direction and adjusting AI-driven work accordingly.

DL: How long does it take you to finalize a design project?

DP : The timeline for finalizing a design project depends on its scope. On average, it takes about three weeks to hand over a project to the engineers. However, there have been instances where I completed a design for a housing unit or a lighting collection in just 1-2 weeks, if the approvals were quick. Currently, I am working on a large project for creating the brand identity of laser equipment, and the primary design solution was only approved after 9 months of work. The project is still ongoing.

DL: When you have a new design project, where do you start?

DP : Almost every design project I begin with pre-design research. This involves studying the current products and projects of the company, analyzing its brand and market positioning, reviewing competitors’ products, and creating a consumer profile. I also look into the production capabilities of the facility where the final product will be manufactured. Ideally, I conduct surveys with potential consumers, especially regarding their use of the company’s existing products. Each of these factors at the start of the project significantly influences the form and functional features of the final design and helps the client understand my thought process. Without pre-design research, a designer is blind, and sketching ideas will have no foundation.

DL: What is your life motto as a designer?

DP : “Creation is the fruit of knowledge.” This motto has biblical origins and reflects Jung’s theory of human perception. Its logic unfolds in reverse order: To create means to master vision. To envision means to master thought. To think means to master feeling. To feel means to master sensation. The combination of vision, thought, feeling, and sensory perception of the consumer, society, culture, and history provides a clear direction for the creation of design.

DL: Do you think design sets the trends or trends set the designs?

DP : It depends on the context and the cultural stage a particular design product is at. However, I believe that quality design should transcend trends and shape a new reality. In this sense, I would argue that design creates new standards, which then become trends for subsequent, mimetic design solutions. An example of this would be the air style of the 1930s or the philosophy of Dieter Rams, which became the foundation of Apple’s design philosophy.

DL: What is the role of technology when you design?

DP : Technology serves as a means of uncovering truth, as suggested by Martin Heidegger’s philosophy — a principle that underpins my design approach. By exploring the technological capabilities of the company, I strive to push them to their limits in order to achieve the most effective results. Furthermore, technological constraints allow me to embody a critical point in the development of our culture, representing where our society currently stands in history. Moreover, I am inspired by the thoughts of designer and futurist Jacque Fresco: ‘If technology does not free people from routine so they can pursue the higher goals of humanity, then all technological progress is meaningless.’ Drawing from Fresco’s technological ideas, I created two significant projects, both of which received high recognition in competitions. The first is the “Urban String Transportation System,” which won first place among student projects in Russia in 2012. The second is the Sevvan automated transport project, which won the Silver A’ Design Award in 2014 in the Futuristic Design category.

DL: What kind of design software and equipment do you use in your work?

DP : Currently, I work with programs like Rhinoceros, 3Ds Max, V-Ray, and Corona, which fully meet the needs of my current projects. I delegate structural and technical challenges to constructors, engineers, and technologists, ensuring constant collaboration to align my design solutions with their expertise. Additionally, I use Adobe programs – primarily Photoshop and Illustrator – as supportive tools, and occasionally InDesign for specific tasks.

DL: What is the role of the color, materials and ambient in design?

DP : Just as technology defines the final form of a product, color, materials, and the context into which I immerse the product also play a crucial role in shaping my design solutions. They often act as both constraints and tools for expressing my ideas. In fact, the more constraints there are, the stronger and more refined the final result tends to be. In my work, I aim to reveal the inherent truth of materials, treating them as witnesses to our reality. They provide the material foundation upon which I approach my designs as both a sculptor and a philosopher. For example, carbon in the Zeitgeist watch project became a central element, embodying the essence of postmodernist philosophy. Color is one of the most powerful tools for influencing how a product is psychologically perceived. Most of my projects are executed in a black-and-white palette, with minimal use of accent colors. This monochromatic approach carries deep meaning, reflecting the philosophy of the Yin-Yang symbol – conveying contrasts such as lightness and heaviness, softness and rigidity, openness and protection. Accent colors, on the other hand, are introduced sparingly to evoke specific moods and emotions that are unique to each project. For instance, I experimented extensively with color and light in the Greenenj project, which won the A’ Design Award in 2018 in the Arts, Crafts, and Ready-Made Design category. As for the ambient, it is a vital context into which I integrate the product. My design must resonate with the environment, aligning both aesthetically and functionally. It must harmonize with the style, physical characteristics, and mindset of the consumer while fulfilling its practical and symbolic roles within the given space.

DL: What do you wish people to ask about your design?

DP : I appreciate questions that delve into the depth of my approach. For instance: What lies beneath the surface of the product’s external form? What drives the harmony, cohesiveness, and expressiveness of your design while maintaining its functional purpose? Can you share the philosophy embedded in your solution? And finally, what does your design intentionally leave unsaid – what remains hidden, never to be revealed? These kinds of inquiries not only explore the visible aspects of my work but also invite a deeper conversation about the layers of meaning, intention, and subtlety that shape each project.

DL: When you see a new great design or product what comes into your mind?

DP : “What sharpness of mind the designer must have!” “How creatively they managed to push and expand the boundaries of our understanding of reality!” “Who is the person behind this piece of design?” For me, the greatness of design is always tied to the personality of the creator – their integrity, unique psychology, and perception of reality. It is these qualities that form the foundation of truly remarkable design.

DL: Who is your ideal design partner? Do you believe in co-design?

DP : I believe that every design product is created through collaboration with the client, the consumer, and all participants in the production process. Everyone involved in the product’s lifecycle, even indirectly, contributes to its creation. However, my ideal design partner would be someone with strong engineering skills or business expertise in marketing the product or securing investments for design projects. Such synergy would help accelerate the realization of the positive intentions my projects are designed to bring to life.

DL: Which people you interacted had the most influence on your design?

DP : It’s difficult to name specific individuals. Perhaps during my studies, one of the most influential figures was Nikita Yevgenyevich Rozanov, the head of the Department of Transport Design. He encouraged me to push beyond the boundaries of conventional thinking and explore new perspectives. At the same time, other designers who shared their knowledge and skills also played a significant role in shaping my approach. Additionally, engineers have always had a profound impact on my work. Collaborating with them often required compromises, grounding my idealized concepts into practical, real-world solutions. This dynamic – a constant interplay of struggle and unity between opposites – made the process even more engaging. Ultimately, our shared goal was to create a design that embodies truth while remaining both functional and viable.

DL: Which books you read had the most effect on your design?

DP : I have read a large amount of literature, but the books that have had the most influence on my design are those that are indirectly related to the field. Besides books on philosophy and aesthetics, Jean Baudrillard’s The Consumer Society and The System of Objects greatly impacted my understanding of contemporary consumerism in design products. Roland Barthes’ The Fashion System also played a significant role, and I use its principles to structure and disclose my projects as signs. I cannot overlook the works of Charles Sanders Peirce and Charles William Morris’ Foundations of the Theory of Signs, which laid the foundation for viewing design products as signs and semiotic systems. Regarding product branding, I have been deeply influenced by books like The Hero and the Outlaw by Carol Pearson, Decoded by Phil Barden, and Marketing Management by Philip Kotler. When it comes to the systematization of design knowledge, my foundational knowledge is based on the works of the Soviet philosopher and systems-thought-action methodology expert G.P. Shchedrovitsky, as well as the collection Theoretical and Methodological Studies in Design from the Soviet design school. Other essential reads include several books on the history of design, which have provided me with insight into its evolution and where we are headed in our progress. Recently, I have focused on exploring creativity in design, and I have studied over 30 books and articles on the subject.

DL: How did you develop your skills as a master designer?

DP : As you can see, I initially dedicated a lot of time to my education. However, over time, I focused on self-education, teaching, and giving lectures. Educating those interested in design, as well as clients, has played a significant role in helping me systematize and update my knowledge and skills in a clear way – for both myself and others. I believe that when you reach a level where people start listening to you, it signifies society’s recognition of you as a design master. It’s also important to note that much of my skill development has been the result of challenges, such as participating in design competitions and working on projects outside my initial area of expertise. These experiences have been driven by a strong belief in overcoming obstacles and confidence in myself.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

DP : The question is quite broad, and one could mention extraterrestrial intelligence or the Creator. However, if we are talking about someone real, I would love to have a conversation with Plato. I believe it is he who laid the foundations for our understanding of existence today, the concept of truth, ideas, and the balance of the cosmos. After all, what design strives for is to restore the balance between the real and the ideal, bringing the ideal closer through design objects. As for design, I would also choose Leonardo da Vinci, who rightfully deserves to be considered a brilliant inventor and a pioneer of design, ahead of his time.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

DP : Sometimes receiving an award creates the need to prove that it wasn’t a fluke. At times, you face opinions aiming to knock you off your pedestal, and in those moments, you remember everything you’ve gone through to reach that point. To maintain a certain level, even more commitment to your path and constant growth is required. Design becomes a part of life, where you experience both highs and lows, collective support and individual disagreements with your decisions, the euphoria of recognition, and the need to overcome challenges. In short, design is the path of a hero.

DL: What is your favorite color, place, food, season, thing and brand?

DP : My favorite color is rather its absence – black. It symbolizes not only wisdom but also rebellion against the mundane and the rules. It’s a reference to the unknown, to space, where light is born – the source of ideas. As for a place, I am drawn to the mountains and the underwater world, particularly the reefs. The mountains represent freedom, conquering peaks, and overcoming oneself, while the underwater world immerses me in the origin of life, replenishes my energy, and reminds me of the diversity of life we are unfamiliar with. I don’t have a particular preference when it comes to food, but I enjoy something extraordinary yet simple. So, I would say exotic fruits and the unique cuisine of different cultural paradigms.

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

DP : In 2012, while still studying at the Stroganov Academy, my friend and I rebelled against an assignment given to us by the design department: to design a car for the president of Russia. Initially, I suggested creating a hearse, but after some time, the professors dismissed the idea, fearing potential backlash. So, I proposed that instead of a government, there would be a technocracy led by scientists, where cars would be automated and work for the good of society. Meanwhile, my friend suggested a car for the president to travel to Mars. For stepping outside the boundaries of the assignment, my friend and I were given three failing grades for our work – for the concept, graphics, and presentation – even though they were of a high standard. Eventually, our grades were adjusted to maximum 4 out of 5. Later, I decided to seek justice through an international jury and submitted the project, titled Servvan, to the A’ Design Awards competition. It won Silver in the Futuristic Design category. As for my friend, he has been working at Citroen in Paris for the past six years, the only one from our group who has achieved truly significant results in automotive design. This is a funny example of how creativity and persistence can lead to meaningful outcomes, despite the authority of the ‘client’!

DL: What makes your day great as a designer, how do you motivate yourself?

DP : I know my day has been successful when I’m struck by a new idea or when a client approves the work I’ve done. In general, my job is about reshaping perceptions of reality in a way that’s accessible to people. So, when I manage to do that – either verbally or visually – I feel that the day has been well spent. When things aren’t going well or I find myself stagnating, I know I need a shake-up, so I challenge myself. In pursuit of new ideas, this might mean thinking outside the box, stepping out of my comfort zone, or even participating in a competition. Sometimes, self-reflection or the feeling of being a Promethean hero motivates me – sharing secret knowledge and techniques for achieving high results with others.

DL: When you were a little child, was it obvious that you would become a great designer?

DP : I’ll be modest– there’s still a long way to go before I reach the level of great designers like Zaha Hadid, Dieter Rams, or Philippe Starck. But as a child, my mother already expected high achievements from me, so I didn’t have much of a choice, haha! But seriously, I’ve always been persistent, and I know that persistence is an important trait when striving for excellence. I think this characteristic, even as a child, foreshadowed my current achievements. However, I also believe that to become truly great, you not only have to earn it but also defend your right to be called great. I think persistence will be a big help in this.

DL: What do you think about future; what do you see will happen in thousand years from now?

DP : This is quite a complex question, as we don’t even know what tomorrow holds; the world today is so unstable. But if we look at it optimistically, I envision a synergy of three systems: humans, nature, and machines, where each system will be in delicate balance with the others. There will likely be a large space station on the Moon for launching expeditions to various corners of the Solar System. There will be no governments, only a technocratic council of people, with decisions made in alignment with artificial intelligence, which will oversee the development of a machine system that supports and enhances human life. With new scientific and space discoveries, our perception of space and time will likely change. As a result, our language will undergo significant transformation, as depicted in the movie Arrival. As for the design of objects, it’s hard to predict, as objects have accompanied humanity throughout history. Much like the human body’s form, the archetype of object design hasn’t undergone drastic changes; only the meaning and details of objects and ways of reaching a goal have evolved.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

DP : Beyond design, I have many other passions that enrich my life experience. I have a deep love for caves, space, music, psychology, and the underwater world. I even have a small collection of seashells that remind me of the uniqueness of each individual. After all, our belongings are tools for our survival, a physical and spiritual shell for humans, an external form for connection and protection, much like a shell is for a mollusk. I also enjoy traveling and discovering new natural landmarks, which I sometimes share on Instagram. In addition to design practice, I am involved in theory and giving lectures. I would be happy to share my knowledge and experience in a lecture I organize. I’m always available on social media and by email, feel free to reach out, and I look forward to connecting with you!