YK: Polina, can you share your experience of becoming a designer? What inspired you to pursue a career in architecture, interior design, and object design?

PD: The origins of my inspiration remain somewhat elusive. When I was in seventh grade, I first had the idea to become an interior designer. I cannot determine the exact catalyst for this desire, because it seemed to manifest itself without any discernible reason. It is also interesting for me, especially considering that I was born in Penza, Russia – a city devoid of architectural culture, the influence of interior design and sophisticated infrastructure. It is an industrial center devoid of visual charm.
When it came time to choose a university course, I gravitated towards architecture, although primarily because of the comparative ease of entrance exams. In addition, the teacher of the preparatory course advised that studying architecture would facilitate a potential transition into interior design.And having devoted myself exclusively to interior design, it would not be easy for me to make the transition to the profession of an architect.
So, I went on my architectural journey, being paired with a third-year student who talked about her academic experience. Her words resonated deeply with me, as she stated, “Very difficult, but incredibly interesting.” Armed with this deep feeling, I started my architectural education and proved myself to be an exemplary student. As my architectural studies developed, my path turned organically into the field of interior design, especially with my additional attention to 3D interior visualization.

YK: In the world of design, it is extremely important to find your niche. How did you find yours and what made you focus on intertwining furniture design with interior design?

PD: It so happened that I took over the interior design entirely. Initially, this was due to the limited budgets of my clients, which required me to come up with and develop products that fit their financial framework and tastes. In addition, my inherent desire to bring to life every aspect of the space, from the home itself to the interior elements and the surrounding landscape, prompted me to take responsibility for the entire design process.

YK: Most likely, this turned out to be the capsule collection “Balance” in 2023. The collection demonstrated remarkable harmony by combining industrial materials with natural shapes.How do you think it will develop in the future?

PD: Indeed, my involvement in furniture design led me to create a capsule collection, which marked my transition into the field of collectible design as well. In this collection, I enjoy the combination of opposites, intertwining elements such as metal with handmade craftsmanship — straw weaving. The collection embodies this balance, harmoniously balances the various components within it. Hence the name “Balance”.
As the collection nears completion, my thoughts begin to work towards my next creative endeavor.

YK: Your design philosophy emphasizes the harmony and unity of the concept. How do you approach the process of creating a harmonization of a space characterized by a balance of aestheticism and minimalism?

PD: Subsequently, I carefully notice descriptive words and visualize spatial images that embody their emotional essence. On a philosophical level, I think about the impact of these spaces on their lives or, if the space is not residential, how it can affect individuals. I tend towards a sacred or philosophical exploration of each person’s journey within a given space, rather than focusing solely on practical functions. When developing layouts, I conscientiously take into account the ideological importance of transitions between individual rooms, assuming that additional visual, three-dimensional, architectural zones will contribute to smooth transitions. I like to think that I create a scenario of human life using the spaces that I design, while never neglecting the pragmatic and utilitarian aspects inherent in their habitation.

YK: As an architect, interior designer and subject designer, you work on projects all over the world. How do different cultural aspects influence the design process and how do you adapt your style to different contexts?

PD: Although I have carried out projects outside of Russia, my clients have been predominantly Russian, which has limited the cultural influence shaping my projects. Instead, my attention is drawn to the connection between the environment and the territory, as well as the preservation of traditions and philosophical foundations of architecture in various countries. I immerse myself in exploring and embodying a variety of architectural styles, bringing my own unique perspective to them. Although my style can be traced in my projects, I make sure that the philosophy and culture of a particular country, within the framework of a given space, are thoughtfully taken into account taking into account the environment.

YK: How do you manage to keep inspired in an ever-evolving industry? Are there any specific sources or influences that fuel your creativity?

PD: Inspiration doesn’t come to me 24/7. It comes and goes again. In moments of creative lull, I go in search of its elusive source. However, when I start a project, initial discussions with clients about the mood of the interior, landmarks and desired items, combined with tangible commitments in the form of a financial contribution, give me an unshakable sense of inspiration. It is at this stage, when the work has officially begun, that my creative abilities are activated. Therefore, when integrating my designs into a real interior project, the motivation to bring the entire space to life encourages me to accelerate the creation of my projects. Although travel is often a source of new ideas, the duration of inspiration varies. Nevertheless, when we embark on the tangible realization of a specific vision, inspiration invariably materializes. Thus, I need the specifics of the project trajectory in order to fully utilize the source of creativity within me.

YK: Polina, how do you imagine the role of design in creating spaces that immerse you in contemplation and create an interconnected and harmonious experience for a person?

PD: The role of design and architecture seems to me to be the most important here. Here, as an artist, I want to collect space, make architectural and lighting exhibitions that will just immerse a person in certain emotions, where I will decide what moods he can fall into and what the overall message of this space is. either you want to make communal spaces, for example, a chapel, or if it is a large hotel with many functions, then all these functions are aimed at a wide range of pleasures that a person can get, for example, meditation halls.