YK: Nissa, tell us how did childhood in the boundless Kazakh steppe shape your perception of space and influence your approach to design?

NK: As a child, I spent a lot of time on the road and loved watching the changing landscapes. There was only the Kazakh steppe outside the window, and when you see only one steppe for hours, the brain, especially a child’s and mobile one, involuntarily begins to entertain itself and creates various pictures. Looking at the horizon, I imagined various stories and fantasized plots. After these long trips, it is probably that I began to form a perception of scale, volume and, in general, the opportunity to play with space.

YK: Can you tell us in more detail how your childhood practice of representing objects in your mind helped develop your spatial thinking abilities?

NK: I’ve always been very interested in objects and how they work. I studied them inside and out, taking the toys apart. And also because I have a pretty good visual memory, I can easily imagine what the fourth side of the object, which is not visible, will look like. Therefore, when geometry appeared in school, I was making progress in this, and I was probably the only student who could imagine a section in his mind and tell the direction of coordinates. I loved working with the subject and “mocking” it in every possible way.

YK: It is noticeable that the influence of Japanese architecture is present in your objects. How did you come up with this style and how exactly did it affect your furniture design? Are there any special elements or principles that you draw inspiration from?

NK: I was the child who often sat in libraries. It was there that I found magazines with Japanese architecture. I was fascinated by the “silence” in these interiors. I realized that you can say a lot in a minimum number of words, like in haiku. My teacher asked us to read hokku and try to express architecture through poetry. It was a very effective exercise. So I gradually began to immerse myself in Japanese culture – cinema, art. And then I began to realize that their thinking is close to me. They can see a lot in the “void”, as I did when I was a child, when I looked at the steppe.

YK: How do you see the relationship between the design of your furniture and architecture? Can you give an example of how the design of a particular object can be transformed into architectural elements or vice versa?

NK: In the field of architecture, there are concepts like small and large forms. Large shapes are buildings, and small ones, respectively, are anything that is significantly smaller than buildings, but in the same way carries a household function. That is, by itself, this connectedness already suggests that the place where a person spends time is architecture from an engineering point of view. Both require design, calculations, and human ingenuity. This realization fuels my inspiration not only for furniture, but for all aspects of design.

YK: Nissa,  how do you approach creating furniture inspired by various buildings? Can you give an example of a specific building that influenced one of your projects?

NK: I am inspired by architecture not only for furniture. For example, at my wedding there was a cake in the shape of the SANAA Japanese bureau building. I can memorize the structure of the building and reproduce this principle in creating a table. For example, Frank Gehry’s architecture fascinates me with its madness of lines, and I rethink this madness and can use it in my works. Technically, it is difficult to describe such a process, because there are usually no precise understandable steps in creating a product. Sometimes I can look at something and see something completely different from what is seen in the usual sense. Often I completely reconstruct what I saw and collect it in a completely different form. This process can be called pampering, because I’m just playing with the elements.

YK: Perhaps, in all your practice, you have encountered difficulties in translating architectural concepts into furniture design? How do you overcome these difficulties by creating holistic and innovative products?

NK: To be honest, I have no difficulty with the concepts. I don’t believe in the proverbial inspiration that needs to be waited for. I always sit down and sort out the task, then the clear principle of building an idea comes and the idea itself always comes. However, building this structure can take a long time, especially when the task requires a deeper understanding that goes beyond superficial observations.

YK: How do you find a balance between aesthetics and utilitarianism in your projects, especially when combining the worlds of furniture and architecture?

NK: I strive to develop the idea, function and form in tandem. The form, as a finite element, is revealed after the function is fully understood. When these two elements are harmoniously combined, without contradictions, I begin to produce.

YK: Can you let us in on some future projects or ideas that further explore the relationship between furniture and architecture?

NK: Currently, I am drawn to explore my heritage and roots as a Kazakh girl from the steppe. I strive to reveal the essence of this identity and weave it into the spaces I create, including furniture. I am in the process of developing a new collection that embodies a utopian world rooted in Kazakh culture.

YK: Is there any specific message or emotion that you seek to convey through your innovative designs that organically combine furniture and architectural elements?

NK: My message is always the same – to look as deeply as possible and perceive the invisible. I’m not trying to entice with my subjects, I’m not trying to play on something. Instead, I approach my business honestly and transparently. Each piece of furniture tells its own story, free from human judgments or assessments. I am honest and open.

In conclusion, Nissa Kinzhalina’s journey as a designer has been shaped by her unique upbringing in the vast landscapes of the Kazakh steppe and her fascination with Japanese architecture. Her ability to envision and manipulate objects in her mind, coupled with her keen attention to architectural details, has led her to create furniture that seamlessly integrates with the concept of a living space. Nissa’s designs blur the boundaries between furniture and architecture, showcasing her versatility and innovative thinking. Whether it’s a desk inspired by the structure of a building or furniture crafted from architectural elements, Nissa’s creations are a testament to her ability to transform imagination into tangible, functional art. With a deep connection between her furniture and architectural designs, Nissa Kinzhalina continues to push the boundaries of design, inspiring others to envision their living spaces in new and exciting ways.