Idea Design

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Idea Design ("ID") 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?

ID : My journey into design began with curiosity, not credentials. I studied Industrial Design Engineering, which gave me a strong foundation in systems thinking, materials and technical execution. But my true education came from collaborating across disciplines — working with artisans, engineers, scientists, and even chefs. I’ve always believed that design is not just a profession, but a way of perceiving and transforming the world. Early on, I realized I was drawn to the invisible: user behavior, tensions in systems, unmet needs, and emotional friction points. That’s what pushed me to found IDEA DESIGN, where we approach design as a strategic and human act — creating not just products, but meaningful experiences and futures. Design, for me, has always been a continuous learning process — and I see every project as a new opportunity to grow, challenge assumptions, and shape more conscious realities.

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

ID : Because design gives me the ability to connect purpose with possibility. I became a designer because I couldn’t stop asking: Why is this done this way? How could it be better? How does it make people feel? What truly motivates me is the power of design to unlock value — to help a company find its purpose, to improve someone’s daily experience, or to create something that simply feels right and resonates deeply. Design lets me merge logic and emotion, structure and intuition. It gives me a voice, but more importantly, it allows me to listen and respond meaningfully to the world around me. I didn’t choose design to express myself — I chose it because it’s the most powerful tool I know to create transformation.

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

ID : I chose it — fully and consciously. There was never a specific moment of revelation, but rather a series of encounters and tensions that made me realize I was already thinking like a designer long before I knew what the title meant. Design wasn’t imposed on me — it emerged naturally from my obsession with systems, behavior, and aesthetics with meaning. It gave me the opportunity to think holistically, act creatively, and contribute responsibly. I keep choosing design every day — because it continues to evolve, and because it still challenges me to be more human, more strategic, and more courageous.

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

ID : I design transformation — and I give it form through objects, experiences, strategies and systems. At IDEA DESIGN, we work across sectors — from healthcare to digital ecosystems, from product innovation to brand rituals. What I love most is designing in spaces where there is no clear brief, where we have to navigate ambiguity, listen deeply, and build something that didn’t exist before. I want to design more meaningful systems: tools that empower people, interfaces that invite reflection, services that improve lives, products that become part of people’s emotional landscape. And more than designing new things, I want to design with greater intentionality — helping organizations and individuals become more aligned with the future they want to create.

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

ID : Don’t aim to become a legend — aim to become useful, thoughtful and honest. Young designers often feel pressure to create something iconic, but true impact doesn't come from chasing fame — it comes from solving the right problems, for the right reasons, with the right people. If I could offer some advice, it would be: Start with listening. The best designers are the best listeners. Design with questions, not just answers. Doubt is part of the process. Think in systems, not just objects. Every decision has a consequence. Stay curious across disciplines. Read things that have nothing to do with design. Prototype early, reflect often. Don’t fall in love with your first idea. Be generous. Share credit. Share methods. Share learning. Protect your integrity. It’s easy to impress — harder to stay coherent. And finally: never confuse design with decoration. Design is the courage to shape futures — with empathy, clarity and responsibility. If you do that consistently, the legacy will come — even if you’re not looking for it.

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

ID : A good designer solves problems. A great designer reframes them. Good designers know how to follow a brief, meet expectations, and create something that works. Great designers go beyond — they ask why the brief exists in the first place. They challenge assumptions with respect, and they bring a strategic, human and systemic vision to the table. A good designer masters tools and processes. A great designer masters perspective, empathy and timing. They know when to push, when to listen, and when to step back. Good designers design for people. Great designers design with people — and often for futures that haven’t arrived yet. But perhaps the most important difference is this: A great designer is not just remembered for what they create, but for how they make others think, feel and evolve.

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

ID : A really good design goes beyond function — it creates resonance. It’s not just about solving a problem, but about solving the right problem in a way that feels intentional, coherent and meaningful. It anticipates needs, simplifies complexity, and makes people feel understood. When evaluating design, I ask: Does it connect? Emotionally, functionally, culturally. Is it honest? Is it aligned with its purpose, or just trying to impress? Is it responsible? Environmentally, socially, economically. Is it relevant? Not just today, but in how it shapes habits over time. A good design works. A really good design lives — it becomes part of people’s lives so naturally that they don’t notice it... until they lose it.

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

ID : Good design is not a cost — it’s a multiplier of value. It brings clarity to chaos. It humanizes technology. It builds trust, loyalty, and differentiation. It reduces waste, friction, and confusion. It makes things work better, faster and deeper. More importantly, good design transforms businesses into experiences, products into rituals, and users into ambassadors. In a world where everything is competing for attention, good design brings meaning, coherence and emotional connection. So the question is not why invest in design? The real question is: can you afford not to?

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

ID : Radical clarity. In the face of complexity, ego, trends and pressure — clarity is what grounds me. Clarity in intention, in values, in language, in experience. Design is not about adding — it’s about revealing what really matters and letting that lead every decision. My other ingredient is humility. I never assume I know the answer. I listen, I observe, I question. And I surround myself with people who challenge me and expand the conversation. At IDEA DESIGN we don’t rush toward solutions — we build coherence. And that, more than anything, is what creates lasting impact.

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

ID : One of the designs I’m most proud of is the Hen Olive Oil Dispenser. Not because it’s flashy or complex — but because it embodies everything I believe in: clarity, tactility, emotional relevance and purpose. Hen transforms a simple, daily gesture — pouring olive oil — into a small ritual of care. It connects people with their cultural roots, with their senses, and with the idea that everyday objects can hold quiet beauty. What makes it great, to me, is how effortless it feels. Every curve, weight, and balance was considered to evoke calm, not showmanship. It’s not a product that asks for attention — it just fits into people’s lives with intention. And when people use it and say: “I didn’t realize how much I needed this” — that’s when I know the design has done its job.

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

ID : To become a better designer, you need to become a better observer, listener and editor. What helped me most was: Working outside of my comfort zone — with people from very different disciplines. Practicing strategic patience — learning when to push, and when to pause. Reading constantly — not just about design, but about systems, philosophy, psychology, and behavior. Asking better questions. The quality of your questions defines the quality of your work. And most importantly: staying curious and humble. Designers improve when they stop trying to be impressive, and start trying to be useful, coherent and responsible.

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

ID : Probably something that combines systems, people and meaning — like anthropology, architecture, or even writing. But the truth is, I see design as an expansive lens — not a narrow profession. So whatever I had chosen, I believe I would have still approached it like a designer: observing, questioning, connecting, synthesizing. Design is not what I do — it’s how I think. So even if I hadn’t studied design, I suspect I would have ended up here anyway.

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

ID : Design is the act of making meaning visible. It’s not about decoration. It’s not even just about problem-solving. Design is how we shape the world — consciously or not. Every interface, every space, every interaction is designed by someone, intentionally or by default. For me, design is a practice of listening deeply, thinking critically, and shaping futures responsibly. It’s a bridge between what exists and what could be. It connects empathy with strategy, aesthetics with function, and people with possibilities. Design is not a stage in the process — it is the process.

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

ID : I’ve been lucky to walk alongside incredible people — collaborators, mentors, clients and friends — who have challenged and inspired me. But if I had to name my biggest supporter, it would be my team at IDEA DESIGN. Their belief, creativity, discipline and courage are what push me forward every day. We grow by thinking together, questioning together, and building together. Also, my family — for their patience, perspective and grounding force. They remind me that what really matters isn’t the next award, but the impact we leave on others, quietly and consistently.

DL: What helped you to become a great designer?

ID : If I’ve grown as a designer, it’s because I’ve stayed uncomfortable — by choice. What helped me the most was: Surrounding myself with people smarter than me. Saying “I don’t know” as often as necessary. Staying close to real users, not just to my own ideas. Reflecting more than reacting. Designing not to impress, but to serve and elevate. Also, I’ve never seen design as an end — but as a lens to understand and shape complexity. That mindset kept me learning, evolving, and listening. Great designers aren’t those who know everything — they’re the ones who remain curious, coherent, and brave.

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

ID : One of the biggest obstacles was the misunderstanding of what design really is. In many contexts, people still see it as decoration or styling. Convincing clients — and sometimes even colleagues — that design is a strategic tool, not just an aesthetic layer, took time, patience and persistence. Another challenge was working from outside the “design capitals”. Building IDEA DESIGN from Murcia meant creating our own ecosystem, our own rules, our own relevance. But those limitations became strengths. They forced us to be resourceful, intentional and deeply connected to what matters.

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

ID : Designers should present their work not just as a finished product — but as a story of decisions. Good presentations show the outcome. Great presentations show the thinking, tensions and intentions behind it. A designer should be able to explain: What problem were we really solving? What constraints did we embrace? What principles guided our choices? How did people feel before and after? Use visuals, yes — but also use language that connects strategy, emotion and experience. And above all: present design with humility and clarity, not with jargon or ego.

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

ID : To leave traces, not just objects. My goal is not to design more things — but to design better systems, better relationships, and better ways of being in the world. I want to contribute to a culture where design is not about trends, but about transformation with care. Where companies use design not just to grow, but to grow consciously. Where users don’t just consume design, but feel seen, empowered and elevated by it. Ultimately, I want to use design to create clarity, dignity and possibility — for people, for organizations, and for futures yet to come.

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

ID : People expect clarity, vision and coherence. They expect me not only to bring creativity to the table, but also meaning, responsibility and perspective. To help navigate complexity, challenge assumptions, and connect business with purpose. They expect me to listen deeply — not just to what’s said, but to what’s missing. And to design not for trends, but for resonance and long-term value. But what I’ve learned is that expectations are not just about outcomes — they’re about how we lead, collaborate and care throughout the process.

DL: How does design help create a better society?

ID : Design creates better societies when it is used to amplify dignity, equity and agency. It helps us reimagine services, systems and products in ways that are inclusive, accessible and human-centered. It gives voice to the underserved, simplifies complexity, and makes better choices easier to adopt. Design is not neutral — it either reinforces the status quo, or it challenges it. When done responsibly, it becomes a tool for justice, sustainability and transformation. Good design doesn’t just look good. It asks better questions and proposes better futures.

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

ID : The ones where design becomes invisible — because it blends so naturally into people’s lives that it simply feels right. Projects like Hen Olive Oil Dispenser, which turns a daily gesture into a sensory and cultural ritual. Or collaborations where design helped transform not just a product, but a mindset within a company. What satisfies me most is seeing how something we co-created doesn’t just solve a problem, but creates a new kind of connection or habit. Success, for me, is not measured in awards — it’s measured in how deeply, respectfully and lastingly a design integrates into life.

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

ID : I would like to see less obsession with speed and novelty — and more focus on depth, responsibility and coherence. I’d like the industry to move beyond portfolio aesthetics and toward systemic impact. For design education to focus not only on tools, but on ethics, listening and cultural intelligence. And for clients and institutions to understand that design is not decoration — it is decision-making with consequences. We need a design culture that prioritizes regeneration over consumption, care over convenience, and purpose over performance.

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

ID : Design is shifting from form to systems, from solutions to strategic alignment, from products to possibilities. It’s evolving into a field that not only shapes what we buy or use — but how we learn, care, move, heal and connect. Design will continue integrating with AI, data, and emerging technologies — but its power will come not from automation, but from how it keeps us human. The future of design is transdisciplinary, ethically grounded and culturally adaptive. And designers will be asked not just to create — but to steward the futures we want to live in.

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

ID : It depends entirely on the nature and ambition of the project. Some strategic design sprints take 3–4 weeks, especially if the goal is to align teams or generate rapid concepts. Others — especially those involving industrial development, healthtech, or systems integration — can take 6 to 12 months or more. But more important than the timeline is the depth and rhythm of the process. We always ensure time for exploration, iteration, and refinement. Rushing can lead to outcomes that are visually appealing but strategically hollow. So we don’t ask how fast can we deliver — we ask how far can this design go if we give it the time it deserves.

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

ID : I always start with listening — to people, to context, to constraints. Before drawing or ideating, we immerse ourselves in the ecosystem: we study behaviors, decode tensions, map systems and gather signals that others overlook. Then we move to framing: defining what’s really at stake, aligning with the client’s purpose, and setting up design principles that will guide every decision along the way. Only after that comes creation. Because without the right question, even the best solution is misaligned.

DL: What is your life motto as a designer?

ID : “If it doesn’t connect, it doesn’t matter.” Design without connection — to people, to purpose, to reality — is just noise. I believe that every design decision should be rooted in clarity, empathy and intention. Otherwise, we’re just adding more things to a world that doesn’t need more — it needs better.

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

ID : Trends may influence aesthetic direction, but meaningful design transcends trends. The best design responds to real needs, deep insights and systemic challenges. It may intersect with a trend — but it’s not driven by it. Design should observe trends, understand their origins, and then decide with intention whether to engage, resist, or redefine them. So in my view: great design doesn’t follow — it questions. And sometimes, by doing so, it quietly sets its own path.

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

ID : Technology is not the starting point — it’s the enabler. We use technology to prototype, simulate, scale, personalize, measure and adapt. But it always comes after the question why — never before. Good design makes technology invisible: it enhances experience without dominating it. We’re interested in tools that amplify empathy, facilitate dialogue, or unlock new forms of interaction — not tech for tech’s sake. So for us, technology is powerful — but only when grounded in meaning.

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

ID : Our toolbox blends digital precision with analog intuition. Software: Rhino, SolidEdge, KeyShot, Figma, Adobe Creative Suite, Miro Hardware: Wacom tablets, 3D printers, CNC models, sketchbooks, material libraries Prototyping tools: Arduino, ESP32, sensors, laser cutting, rapid manufacturing techniques Collaboration tools: Miro Inspiration tools: field visits, photography, books, user observation, sketching by hand But ultimately, no tool replaces thinking critically, listening deeply, and creating with purpose.

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

ID : Color, materials and ambient are not superficial — they are emotional interfaces. They shape how we feel, move and respond to an object or space. Color can guide, soothe or provoke. Materials carry meaning: they speak of origin, intention and time. Ambient — the surrounding atmosphere — defines the tone of interaction. In our work, these elements are never decorative. They’re part of a multi-sensorial narrative. We use them to reinforce clarity, evoke emotion, and align every detail with the overall purpose. Design doesn’t end with function — it comes alive through atmosphere, tactility and tone.

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

ID : I wish people would ask: “Why does it feel like this?” “What behavior is it inviting?” “What intention shaped this detail?” Because those questions go beyond the what and into the why — into the thinking, the ethics, the empathy behind each decision. I don’t want people to just admire the outcome. I want them to engage with the reasoning — to see design not as magic, but as a set of human choices guided by purpose.

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

ID : I usually think: “What tension did this resolve?” “What principle held this together?” Great design often feels inevitable — as if it couldn’t have been any other way. But behind that simplicity, I know there was struggle, iteration, and deep clarity. Sometimes I also feel a mix of admiration and curiosity: How did they get there? What didn’t they include? How might it evolve over time? Great design always leaves me with better questions.

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

ID : Absolutely — I believe deeply in co-design. Design is not a solo act. My ideal design partner is someone who challenges me with respect, who brings a different lens to the process, and who isn’t afraid of friction if it leads to clarity. I value partners who are strategic but human, detail-oriented but systems-aware, curious but grounded. At IDEA DESIGN, collaboration is at the core of our practice — with clients, researchers, engineers, users. Because the best ideas don’t come from ego — they come from shared exploration and aligned intention.

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

ID : By designing — and by reflecting on how I design. I developed my skills not just through practice, but through observation, failure, dialogue and curiosity. Every project taught me something different: about process, people, limits, or myself. I’ve always worked across disciplines — and that pushed me to become fluent in different “languages”: technical, strategic, emotional. I learned as much from clients as from collaborators, and from users more than from any theory. But perhaps the most important skill I developed was knowing how to ask better questions, and how to design not just outputs, but intentions.

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

ID : Awards are gratifying — but not defining. They open doors, give visibility, and acknowledge the hard work of many. But I try to see them not as an endpoint, but as a moment of reflection: What did this project change? What did we learn? What’s next? As for fame — I don’t think of myself as famous. I think of myself as committed. What’s hard sometimes is keeping your voice clear when expectations grow. But that’s also a privilege — and a responsibility I take seriously. What matters most to me is not the spotlight, but the impact our work quietly makes in people’s lives.

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

ID : A great day is when something clicks — when an idea connects, when a team aligns, when a user insight surprises you. Motivation comes from purpose and people. From knowing that what we design can change how someone feels, decides, or relates. From watching a sketch become a prototype, a prototype become a product, and that product become a meaningful part of someone’s life. Also, I find motivation in the small moments: a good conversation, a sharp question, a new material in my hand, a silent breakthrough in the middle of a messy process. Design is a long journey — but those moments keep it alive.

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

ID : It wasn’t obvious to anyone — but in hindsight, the signs were there. I was always curious, observant and restless. I spent hours dismantling things just to see how they worked. I drew constantly, not to illustrate but to understand. I was obsessed with how spaces felt, how objects were held, how systems functioned — even before I had those words. I didn’t know it was called “design.” I just knew I wanted to make things clearer, better, more human. And I haven’t stopped since.

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

ID : A thousand years from now, I hope we will have learned to design with humility, not control. I don’t know what technology will look like, or how society will be organized — but I hope we’ll value interdependence over dominance, presence over speed, and wisdom over data. If we’re still here, it will be because we learned to listen to complexity and act with care — because we shifted from extraction to regeneration, from ego to ecology. And I hope design will still be present — not as a discipline, but as a deeply human instinct to shape the world with meaning.

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

ID : I’d like people to know that design is not about being a “genius” — it’s about being generous, rigorous and consistent. That everything we design at IDEA DESIGN comes from a place of care. We don’t rush, we don’t decorate, and we don’t follow trends for the sake of it. We design to connect, to reveal, to evolve. And if there's one thing I hope people feel when they interact with our work — it’s clarity with depth. Not complexity for complexity’s sake, but the kind of simplicity that comes from listening well and deciding better. Because design is not what we make — it’s how we make sense of what matters.