Stepan Pianykh

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Stepan Pianykh ("SP") 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?

SP : I hold a bachelor's degree in Product and Industrial Design from the University of Hertfordshire. Over the past decade, I've been running an industrial design agency, specializing in computational and industrial design. Alongside my professional endeavors, I've delved into game development as a self-taught generalist—a hobby that eventually spilled into my commercial activity. Now, I create both games and hardware products, as well as 3D printable art pieces as well as produce content relating to both. I'm a maker at heart, even beyond my professional background, I’m constantly at the state of creating something new.

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

SP : I became a designer because of my early exposure to woodworking through my father's hobby. This instilled in me a passion for creating and tinkering from a young age. As I grew older and learned more about the field of design, I was immediately drawn to it. The prospect of bringing ideas to life and solving problems creatively resonated deeply with me. Over time, my interests expanded into the digital realm, leading me to explore computational and industrial design. What motivates me is the sheer joy of creation and the opportunity to make a tangible impact through my work. Whether it's designing products that enhance user experiences or crafting immersive digital experiences, I find fulfillment in the creative process and the ability to shape the world around me.

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

SP : I wasn't forced into becoming a designer, but I also can't imagine avoiding this fate. From a young age, I've always had a knack for making things and seeking unusual twists on the ordinary. I consider myself lucky to have identified my calling before even applying to university, and I've remained persistent in pursuing it ever since. Design is such a diverse field that one can spend a lifetime exploring its various disciplines and never scratch the surface of what the industry has to offer. This continual discovery and opportunity for growth are what keep me committed to being a designer.

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

SP : I primarily design products that offer new experiences for users, from kinetic objects that move in unique ways to customizable accessories and interactive toys. My designs often have a systemic logic beneath their surfaces, integrating both physical and digital elements to create something truly unique. Looking ahead, I'd love to delve deeper into products of more unconventional manufacturing methods. Like various digital fabrication techniques that are pushing the boundaries of what's possible in the field of industrial and computational design.

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

SP : To become a design legend, young designers should focus on a few key principles: Find Your Passion: Identify the kind of creative work that excites you the most. Passion fuels persistence, and persistence is essential for success in the design world. Embrace Continuous Learning: Stay curious and always be willing to learn new skills and tools. The design field is constantly evolving, and adaptability is crucial. Prototype Early and Often: Don’t wait for perfection before sharing your work. Start with rough prototypes and iterate. Each version will bring you closer to a refined product. Build a Strong Network: Connect with other designers, clients, and mentors. A solid network can provide support, feedback, and opportunities that can propel your career forward. Balance Creativity with Practicality: While it’s important to dream big and innovate, successful designs also need to be feasible and functional. Strive to balance aesthetics, functionality, and manufacturability. Share Your Work: Post your designs regularly on social media, design forums, and other platforms. Exposure is key to getting noticed and building a reputation. Stay Resilient: Design is a field with its fair share of rejections and failures. Use these experiences as learning opportunities and keep pushing forward. Ultimately, every legendary designer started somewhere. It’s the combination of talent, hard work, perseverance and a fair bit of luck that ultimately leads to success.

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

SP : What distinguishes a good designer from a great designer is exposure and recognition. Greatness is subjective, but it often hinges on how well a designer's work is acknowledged and appreciated by a broader audience. A great designer has the ability to captivate and engage people, making their creations stand out in a crowded field. While the quality of the work itself is paramount, if we're starting with the premise that a designer is already good, then technical skill and creativity are a given. The differentiating factor is how effectively a designer can communicate the value and uniqueness of their work to others. This involves not just creating outstanding designs but also telling compelling stories around them, networking, and strategically sharing their work to reach and resonate with the right audience.

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

SP : Evaluating what makes a good design truly great is subjective. A really good design resonates with the current needs and aesthetics of society, fitting perfectly into its time and place. You can't judge a design's impact in isolation; it must be tested in the real world. Prototyping early and pushing the product out for feedback is key. This real-world interaction is crucial for refining and enhancing the design. In essence, continuous testing and iteration are what elevate a good design to a great one.

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

SP : The value of good design is immense. It enhances our experiences by looking, sounding, and functioning just right, making life more enjoyable and fulfilling. Investing in good design is a no-brainer—it might cost more upfront, but it also sells better, providing greater long-term value. Good design not only improves user satisfaction but also drives commercial success.

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

SP : I'd jump at the opportunity to design a Virtual Reality headset. For me, it's the ultimate convergence of my two primary passions: industrial design and video game development. A VR headset serves as a bridge between physical and digital interfaces and experiences, offering endless creative possibilities. If given the chance, I'd love to design one for Valve, as they're at the forefront of innovation in the gaming industry and their approach to industrial design really speaks to me.

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

SP : I've always prioritized making time for my dreams—if you can't find time for them, what's the point? Currently, my passion project is a virtual reality game called "Barrel On" that aims to offer a fresh perspective on Virtual Reality locomotion. However, if I were to dream even bigger, I'd love to undertake a project that combines my love for design, technology, and societal impact but which is also very simple and democratic. Something that can reach every household out there and just blend into everyone's daily life. Like a pencil, but in the world where none ever existed.

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

SP : The secret to success in design is iteration. Much like the theory of evolution, improvement comes through trial and error. There's no magic formula for creating a great piece of design outright, but with enough attempts and fine-tuning, everything gradually becomes better. The tricky part is knowing when the design is good enough—shipping the product before sinking an unreasonable number of hours in an elusive quest for perfection.

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

SP : I draw inspiration from design masters like Yves Béhar of Fuseproject and Dieter Rams. Béhar's innovative approach at Fuseproject emphasizes holistic design solutions that blend seamlessly into users' lives. And ofcourse Dieter Rams. His emphasis on rules, formulas and strict proportions, resonates deeply with my computational design sensibilities. However, I generally don't rely heavily on others' work to avoid creating derivative designs. Instead, I find most of my inspiration from the world around us and the unique challenges it presents.

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

SP : I love the Meta Quest 2 virtual reality set by Reality Labs. For its current price point, it is an outstanding piece of engineering and user experience. Not to mention, it serves as a gateway into VR for so many people. I admire it for what it represents: the democratization of a recently niche technology. I also appreciate most low to mid-end products by Logitech for pretty much the same reasons. Their designs balance affordability with quality, making well-engineered products accessible to a wider audience.

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

SP : My greatest design is undoubtedly the Phoresy Pack backpack. What makes it stand out isn't just its functionality or aesthetic appeal, but the innovative approach that went into creating it. The Phoresy Pack embodies the intersection of ergonomic design, computational design, and digital fabrication principles. Its unique foldable structure, crafted from a single sheet of CNC-milled leather, allows it to expand and contract seamlessly, adjusting its volume as needed. This design wasn't just about making a stylish backpack; it was an exploration into how computational design and digital fabrication can transform everyday objects. The project's success lies in its multi-faceted innovation—blending advanced technology with practical application, and maintaining a tactile, physical connection even in a largely digital process. Moreover, Phoresy Pack was my graduation project which coincidentally marked my first significant foray into the computational design space—an area that has become my primary expertise. The fact that it continues to receive recognition nearly a decade later is a testament to its lasting impact. The Phoresy Pack isn't just a backpack; it's a manifestation of how computational design and digital fabrication can revolutionize fashion and industrial design. This blend of practical innovation, aesthetic appeal, and enduring relevance is what makes it my greatest design.

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

SP : Improving as a designer requires a combination of dedication, curiosity, and a willingness to push boundaries. Firstly, immerse yourself in diverse sources of inspiration—from art and architecture to nature and technology. Explore different design disciplines and study the work of both historical and contemporary designers. This broad exposure will expand your creative horizons and inform your design approach. Secondly, embrace a growth mindset and never stop learning. Stay updated on emerging technologies, trends, and methodologies within the design industry. Seek out opportunities for professional development, whether through workshops, courses, or mentorship programs. Additionally, actively seek feedback on your work and be open to constructive criticism. Reflect on your design process and continuously refine your skills based on both successes and failures. By embracing curiosity, lifelong learning, and a willingness to evolve, you can continuously improve as a designer, just as I have throughout my career.

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

SP : If I hadn't pursued a career in design, I likely would have gravitated towards a field closely related to creativity and craftsmanship. One possibility that resonates with me is movie prop making. The film industry has always held a special fascination for me, not just for the finished products on screen, but for the intricate details and craftsmanship behind the scenes. Movie prop making combines technical skill with artistic flair, requiring an understanding of materials, fabrication techniques, and storytelling. It's a field where imagination knows no bounds, and the opportunity to bring fantastical worlds to life through tangible objects is incredibly appealing. Much like design, prop making offers the chance to blend creativity with practicality, and to play a role in the immersive storytelling experience of cinema. So, if not a designer, I could see myself happily crafting props for the silver screen, contributing to the magic of movie-making.

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

SP : Design, for me, is creation. It's modern-day invention—willing something into existence that hasn't been out there before. 04. What kinds of works do you like designing most? I love designing products that offer new user experiences—systemic designs with a complex logic underneath, kinetic objects that move in unique ways, toys and games, and items and accessories that allow people to express themselves.

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

SP : While I'm fortunate to have a supportive network of friends and colleagues, if I had to highlight one person who's been my rock throughout my journey, it would be my mother. Her unwavering support and encouragement, especially during pivotal moments like the development of my Phoresy Pack project, have been invaluable. She's been there to lend a helping hand and offer guidance when I needed it most. In addition to my mother, my wife Asya has also played a significant role in my journey. Her support and belief in my abilities have been a constant source of motivation, pushing me to reach new heights in my career. Lastly, I must mention my lifelong colleague and co-founder of vosq Design Studio, Feyodor Smekhov. Our collaboration has been a source of inspiration and motivation, pushing me to strive for excellence in all our endeavors. Having such strong pillars of support in my life has been instrumental in helping me achieve my goals.

DL: What helped you to become a great designer?

SP : Becoming a great designer is a culmination of various factors, some of which may seem unrelated at first glance. Firstly, I was fortunate to have been born into a privileged family, which provided me with a rich childhood filled with diverse experiences and opportunities. This upbringing laid a strong foundation for my creative pursuits and instilled in me a curiosity about the world around me. Moreover, some seemingly superficial attributes like my height and charisma have certainly played a role in facilitating my networking and promoting my designs. These qualities have helped me connect with others in the industry and showcase my work effectively. Additionally, discovering my passion for design at an early age allowed me ample time to hone my skills and develop my unique style. This early clarity of purpose has been instrumental in shaping my journey as a designer.

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

SP : One major obstacle I faced was overcoming perfectionism. It's easy to get caught up in the desire to make everything flawless, which can hinder progress and creativity. Another challenge was not knowing where my work belonged. You can create incredible pieces, but if you show them to the wrong audience, they might never get the recognition they deserve. Understanding what advice to present and where to find the right audience was crucial. Additionally, building a network was a significant hurdle. The design industry is as much about knowing people as it is about talent. Establishing connections with mentors, clients, fans, and colleagues took time and effort. Building a supportive network was essential for my growth and success as a designer.

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

SP : Designers should present their work briefly and with a catchy storytelling approach. In a fast-paced world, capturing people's attention is challenging, so it's crucial to be concise and to the point. Highlight one key aspect of the design that stands out and focus on that to draw in your audience. Additionally, it's important to share your work regularly. Consistent visibility can be more impactful than perfect quality. The breadth of your reach often matters more than the depth of each piece. If you spend a lot of time creating a product, invest just as much effort in promoting it and telling the world about it.

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

SP : I'm currently working on a collection of 3D-printable fashion accessories. This project allows me to flex my computational design muscles and make new connections and collaboration in the fashion industry, so keep an eye out for that. Beyond this, you can expect more of the same from me: flashy hardware products, engaging video games, and unique digital parametric art pieces.

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

SP : My ultimate goal as a designer is to lead a versatile Design R&D department, one that thrives on exploration, experimentation, and innovation. While much of my professional endeavors have been focused on creating functional and pragmatic designs tailored for specific products, my passion projects and side ventures have often delved into the realm of pure exploration and expression, with only loose ties to practical applications. I envision a future where these two realms converge—a space where a team of design explorers can push the boundaries of creativity without being constrained by the pragmatism of manufacturing constraints or budgetary concerns. Leading such a team would allow me to foster a culture of curiosity and risk-taking, where ideas are freely explored and tested without fear of failure. Ultimately, my goal is to contribute to the evolution of design by fostering an environment where innovation flourishes and boundaries are constantly pushed.

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

SP : It's quite common for people to expect that an esteemed designer has already faced the specific challenge they are presenting. Clients often assume that you have already designed a similar product before and can replicate that process. However, the reality is that making things we've never worked on is what designers excel at. There are countless potential design challenges, and you don't need to have tackled them all to be an acclaimed designer. We revel in unpredictability. As designers, we thrive on new tasks. Understanding a new problem and coming up with a solution is the core of what we do.

DL: How does design help create a better society?

SP : Design plays a crucial role in creating a better society by solving problems and improving the quality of life. Well-thought-out design addresses practical needs, making everyday tasks easier and more efficient. For instance, accessible design ensures that products and environments are usable by people of all abilities, promoting inclusivity and equal opportunity. Sustainable design focuses on reducing environmental impact, leading to a healthier planet for future generations. By prioritizing user experience, designers can create products and services that are not only functional but also enjoyable and engaging, enhancing overall well-being. Moreover, design has the power to drive social change by raising awareness and inspiring action. Thoughtful design can highlight important issues, influence public opinion, and encourage responsible behavior. In public spaces, good design fosters community interaction and a sense of belonging, contributing to social cohesion. By continuously innovating and pushing boundaries, designers can challenge the status quo and envision new possibilities, ultimately contributing to a more equitable, sustainable, and vibrant society.

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

SP : The things that excite me the most are usually at the edge of my discipline, something that pushes my skills forward. My current passion is Virtual Reality. I love how tactile and physical it feels and how liberating the lack of common real-world constraints like manufacturing considerations and laws of physics can be when you're creating an object or experience in virtual space. VR is closely related to Industrial Design when you think about it; the rules of physical interfaces built for the real world map and expand seamlessly into the virtual one. Right now, I'm working on a virtual reality game called "Barrel On." It's not my first VR title or video game for that matter, but it is the most ambitious one by far, with all the interactivity and dynamic nature it involves. This project is particularly exciting because it allows me to explore new ways of engaging users and pushing the boundaries of what can be achieved in a virtual environment.

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

SP : The design projects that have given me the most satisfaction are those that epitomize the essence of creativity and collaboration. Specifically, I find immense joy and fulfillment in hackathon-style projects—the kind where you're locked in a room with a team of designers, working against the clock to create something from scratch. In these intense and exhilarating environments, the balance between the effort invested and the results achieved tilts massively towards the latter. These projects are a testament to the power of teamwork, creativity, and resourcefulness. Despite the tight deadlines and limited resources, there's an undeniable sense of camaraderie and shared purpose that drives us forward. And when the dust settles and we emerge from the whirlwind of activity, seeing the tangible outcome of our collective efforts is incredibly gratifying. Whether it's developing a payment solution for banks, designing coffee-making robots, or creating video games, these projects embody the spirit of innovation and collaboration that fuels my passion for design.

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

SP : In the coming years, I'd like to see significant changes in the design industry, starting with a reduction in crunch culture. The intense, often unhealthy, work schedules that many designers face need to be addressed to promote a healthier work-life balance and foster creativity without burnout. Sustainable practices, including more humane work environments, will lead to better quality work and happier, more productive designers. Another crucial change is the regulated and fair use of AI in design. While AI can be a tremendous productivity booster, it's essential to ensure that its implementation is ethical and equitable. Proper guidelines and standards should be established to ensure that AI enhances rather than replaces human creativity. This balance will allow designers to leverage AI's capabilities for more efficient workflows while maintaining the integrity and uniqueness that only human creativity can provide. Moreover, with enough understanding and regulation of the technology hopefully AI assisted and generated works will leave the legal gray-area they currently exist in and more companies will embrace them in their workflow too.

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

SP : The design field is heading towards greater accessibility and democratization. With the increasing availability of advanced CAD tools and 3D printing technologies, more people can engage in the design process than ever before. These tools are becoming easier to use, allowing DIY enthusiasts to create sophisticated designs that can rival those produced by industry giants. This democratization is empowering individuals and small teams to innovate and contribute meaningfully to the field. As a result, we can expect a continued trend towards more diverse and decentralized design practices. The barrier to entry is lowering, enabling a wider range of voices and ideas to shape the future of design. This shift will likely lead to a more vibrant and competitive landscape where creativity and innovation flourish across all levels, from hobbyists to professional designers.

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

SP : There is rarely a true finale to any product design project—there's always a "what's next" and another iteration you can make. However, on average, it takes about a couple of months to go from zero to something presentable. Yet some projects can last years, while others are quick hacks completed in a couple of days. The latter category holds a special place in my heart.

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

SP : When I start a new design project, I focus on forming a clear brief and understanding the project's goals. Once that's in place, I take a step back and review my previous work. I go through my notes and recall past projects, exploring concepts, sketches, and inspiration pieces that were exciting but didn’t fit into other works. These elements often provide a rich foundation for my creative process and help kickstart new ideas.

DL: What is your life motto as a designer?

SP : “First, you make it. Then you make it work. Then you make it work well” This means prototyping early and prototyping a lot. Each iteration brings you closer to the ever-elusive idea of a perfect product.

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

SP : The two elements exist in balance. I'm a proponent of the MAYA (Most Advanced Yet Acceptable) principle by Raymond Loewy. This principle suggests that a great design lives on the edge of the collective space of what’s been done before. It’s different enough to push the industry forward and set new trends, but it’s also not too detached from the current “meta”, ensuring it remains understandable and acceptable to users and the market. Thus, while design can set trends, it also needs to resonate with existing trends to be effective. In a way it’s like building a foundation for new trends from within the current ones.

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

SP : Technology plays an immense role in my design process. I've digitized most of my creative workflow, relying on physical tools like a notebook and a liner for initial sketches and ideas, while the rest has been seamlessly transitioned to digital platforms. These digital tools enhance and augment my capabilities, allowing for greater precision, flexibility, and much faster iteration. However, it's important to remember that these are merely tools. The core of a designer's value lies in their ability to create and solve problems, a talent that technology can only assist but never replace. The essence of design remains in the human ability to think creatively and critically.

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

SP : In my design work, I primarily rely on a combination of software and equipment that enables me to bring my creative visions to life. For 3D modeling and computational design, Rhino and Grasshopper are my go-to tools, offering powerful capabilities for generating complex geometries and parametric designs. Additionally, I leverage Unity for projects that require interactive elements or game development, allowing me to create immersive digital experiences with ease. Additionally, I'm a staunch advocate for digital fabrication tools like 3D printing and CNC milling, which play a crucial role in prototyping and realizing my designs in physical form. The democratizing nature of 3D printing allows for rapid iteration and experimentation, empowering me to iterate on designs quickly and efficiently and also share them with great ease.

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

SP : Color, materials, and ambiance are crucial in design, but their true power lies in their interplay. The contrast between shapes, colors, and materials is far more effective at conveying ideas and emotions than any single element on its own. This dynamic interaction creates depth, interest, and meaning in a design, allowing it to resonate more deeply with people. In addition to their interplay, ambiance plays a significant role by setting the mood and context for the design. The right combination of colors and materials within a thoughtfully crafted ambient environment can evoke specific emotions and reactions, enhancing the overall impact of the design. It's this harmonious balance that brings a design to life and makes it memorable.

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

SP : I wish people would ask about the process and the underlying logic behind my designs. Explaining how a project was made is something I really enjoy, especially since many of my works involve intricate systems and thoughtful engineering. It’s exciting to share the journey and the decisions that led to the final product. Additionally, I love collaboration, so I’d like people to consider how they can engage with my designs and what new ideas we could develop together. Asking themselves, "What can I do with this, what can we build on top of it?" opens the door to creative partnerships and innovation.

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

SP : Many great designs are so seamlessly integrated into our lives that we hardly notice them. I am no exception here. I can be looking straight at a product of incredible human ingenuity, but not realize that. But when I encounter a particularly striking design, I often think about the lessons it offers and the ideas I can borrow and apply to my current projects. It's an opportunity to reflect on the creativity and problem-solving skills behind the design, considering how these elements can inspire and enhance my own work.

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

SP : My ideal design partner is someone who shares my commitment to excellence and compliments my skills and expertise. I value clear communication and a shared understanding of responsibilities, ensuring that each team member can focus on their specific area of expertise without unnecessary micromanagement. I believe in co-design when it allows for a collaborative exchange of ideas and expertise, leading to innovative solutions that wouldn't be possible working alone. However, I also prefer to work within a team where roles and responsibilities are clearly defined, allowing each member to contribute effectively and independently to the project. Ultimately, successful co-design relies on mutual respect, trust, and a shared vision for the project's success.

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

SP : The people who have had the most influence on my design are the users themselves. Their feedback, experiences, and needs drive my design decisions and inspire me to create solutions that truly resonate with them. By listening to users and understanding their perspectives, I'm able to design products and experiences that are both functional and meaningful.

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

SP : I haven't read many books on design due to being dyslexic, but I've found immense value in visual media, particularly YouTube channels. Channels like Extra Credits, GMTK, and Design Theory have been constant sources of inspiration for my creative endeavors. What I appreciate about design-related content is how transferable the knowledge from one design field to another truly is. The tools, mediums, and advice may vary, but the general approach to problem-solving transcends them all. A lecture on game design can be just as inspiring for an industrial designer as a discussion on concept cars.

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

SP : I've developed my skills as a master designer through a combination of self-challenge and real-world projects. I consistently push myself by running several passion projects alongside my primary activities, using them to broaden my creative horizons. Additionally, I actively seek out client projects that push the boundaries of my knowledge, allowing me to learn and grow within my field. I firmly believe that learning through making is the best way to master any skill. Fortunately, my work primarily involves creating, so I continually refine my skills with every project I undertake. As long as I keep tackling challenging projects, I find that I don't need to seek out additional academic material—I learn by doing.

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

SP : I’m not one to build idols for myself. However, professionally, I’d love to have a chat with the late Ron Resch, an applied mathematician and the father of many beautiful things in the field of parametric design. Outside of my profession, I’d love to meet Adam Savage, the guy from MythBusters and a creator of many great movie props. His undying optimism, passion, and humor and of course tinkering skills are something I can never get enough of.

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

SP : I don't consider myself famous. While I've received awards and recognition within my industry, I've only been recognized in public once. I remain a permanent member of the communities I inhabit online but that is not something you call widespread recognition. Therefore, I haven't faced any drawbacks from sharing my work widely.

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

SP : Here's a snapshot of my current favorites right now: Color: Pink - I appreciate its versatility, whether as a neutral tone or a vibrant accent depending on the context. Place & Season: Summertime at the countryside I used to spend summers at when I was a kid. It's not a place I can revisit physically, but it holds nostalgic memories of adventure and boundless exploration. Food: Green salad - I love the variability hidden under that label, allowing for endless combinations and flavors. Thing: My alpine skiing clothing set - It’s a thing that represents an experience. I think the excitement of dashing down a slope is the closest thing to feeling like an actual superhero. Brand: Muji - I admire their pragmatic minimalist approach and almost invisible design ethos, resonating with my sensibilities.

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

SP : One time, we were approached by a client to develop large industrial paging solutions. As part of our work, we had to conduct an audit at the factory where our solutions would be integrated. The client mentioned, quite casually, that they suspected a criminal organization was operating at the factory. They couldn't prove it, but they warned us to be prepared for excessive friction regarding any data collection we might be doing and potential sabotage of our design solutions. You always expect some level of friction during research and integration, but you operate under the assumption that everyone understands you're there to make improvements. Active opposition, however, was something I could never have imagined encountering. Long story short, after weighing the risks, we decided not to take on the project. It was a surreal experience that underscored the unpredictable challenges you can face as a designer.

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

SP : Most days, my work itself is enough motivation. I like to organize my tasks so that the most exciting ones are scheduled for later in the day, giving me something to look forward to as I progress. Being a social person, what truly makes my day is when my designs get noticed. When people reach out to compliment my work or offer new projects, it’s incredibly gratifying. I can’t get enough of that positive feedback, so I make a point to share my work regularly and engage with the community to harness this social energy.

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

SP : It's easy to look back and connect the dots, saying I've always been on this path—hindsight is 20/20, after all. However, I was never good at envisioning a future for myself, at least not far ahead. I've always been a crafty kid, constantly working on projects long before I knew what a "project" even was. But it was never about being labeled a designer or about adhering to some profession; it was about creating things I believed were great at the time. My parents used to say that with the amount of passion and my all-in attitude I am destined to either greatness or misery, with little chance of landing in between. I guess I was lucky to land on this side of this spectrum.

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

SP : I think a thousand years from now people will be just as incapable at predicting the long term future as we are today. However, I am optimistic that humanity will continue to progress and thrive. Over millennia, we've seen a general trend towards greater openness, liberalism, and scientific advancement. While there may be setbacks along the way, I believe that overall, the world will be a better place, with improved standards of living, greater access to education and technology, and a deeper understanding of our place in the universe. Despite the challenges we face, humanity has shown resilience and adaptability, and I have faith that we will continue to overcome obstacles and create a brighter future for generations to come.

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

SP : I’d like them to know that I'm not nearly as full of myself as this review might suggest. My passion lies in design, yes, but humility and authenticity are equally important to me. I am very approachable and a little geeky.