Interviews with Nataliia Vergunova
Designer profileDesign Interview
31 May 2025 · Lumenica Lighting Collection
The main idea behind the Lumenica luminaire is to explore the interaction between light, material, and form through a single, fluidly twisted glass body. The design draws inspiration from natural bionic structures, such as spirals found in shells and plants, to create a sculptural object that visually shifts with the viewer’s perspective. The use of parametric reliefs and contrasting matte and glossy surfaces enhances the optical play of light, making the luminaire appear dynamic and almost alive. This approach combines technological precision with organic aesthetics, aiming to animate and enrich contemporary interior spaces.
The main focus in designing the Lumenica luminaire was to create a harmonious integration of technology and organic aesthetics. The intention was to develop not just a functional light source, but a sculptural object that transforms the perception of space. Special attention was given to the optical qualities of twisted glass and the interplay between matte and glossy surfaces, so that the luminaire would produce dynamic visual effects and a sense of movement. The ultimate goal was to make the fixture visually engaging and to evoke a feeling of vitality and contemporary elegance in the interior.
Future plans for the Lumenica luminaire include expanding its presence through collaborations with lighting manufacturers and integrating it into architectural and interior design projects. We aim to explore variations in scale, materials, and finishes to adapt the design for different contexts, such as residential, hospitality, and public spaces. Further development may involve the creation of a series based on the original concept, as well as experimentation with smart lighting technologies to enhance user interaction and environmental adaptability. The ultimate objective is to introduce Lumenica to a wider international audience and establish it as a distinctive example of contemporary lighting design.
The design of the Lumenica luminaire was developed over the course of an entire academic semester at O.M. Beketov National University of Urban Economy in Kharkiv. The project was carried out as part of the course “Work with Material” and included all key stages, from concept development and parametric modeling to prototyping and material testing. This extended process allowed for an in-depth study of form, optics, and production methods, resulting in a distinctive lighting object.
The design emerged from a desire to experiment with the expressive possibilities of glass and advanced modeling technologies within the framework of academic research. The main motivation was to pursue inspiration drawn from natural forms and to push the boundaries of what can be achieved with contemporary glassworking and lighting design, resulting in a unique and visually engaging luminaire.
The Lumenica luminaire is not currently in mass production or licensed to another company. There are plans to collaborate with manufacturers and design studios to bring the luminaire to a broader market. Various options are being considered, including selling or leasing production rights, as well as overseeing limited in-house production to ensure quality and design integrity. The primary objective is to make the design accessible for integration into contemporary interiors while maintaining its original concept and craftsmanship.
The motivation to design the Lumenica luminaire arose from a fascination with the interplay between light and material, and a desire to explore the sculptural potential of glass in contemporary lighting. Special attention was given to the challenge of creating a functional object that also serves as an expressive centerpiece. Academic research into biomimicry and parametric design methods further influenced the direction, encouraging the use of organic forms and innovative techniques. The result is a work that combines experimental aesthetics with practical utility, reflecting both technological advancement and artistic inspiration.
This project was developed by fourth-year student Maria Kolesnikova under the guidance of Professors Nataliia Vergunova and Sergey Vergunov, heads of the Departments of "Design and 3D-Modeling" and "Design and Interior" at O.M. Beketov National University of Urban Economy in Kharkiv. The design process was shaped within the academic environment, where collaborative discussions and expert feedback played a significant role in refining both the concept and its execution. The influence of the supervising professors was essential for exploring innovative approaches and achieving a high standard of design quality.
The target customer for the Lumenica luminaire includes architects, interior designers, and private clients who value distinctive, sculptural lighting solutions. The design is intended for contemporary residential and public interiors where high-quality materials, innovative aesthetics, and a unique visual presence are important. This luminaire appeals to those seeking to integrate functional art objects into their living or working spaces.
The Lumenica luminaire stands out due to its integration of biomimetic forms with advanced parametric glass modeling. Unlike many conventional lighting fixtures, this design features a single twisted glass body with a relief that enhances the dynamic interplay of light and shadow. The deliberate use of both matte and glossy textures within one piece creates a changing visual effect depending on the viewer’s position and ambient lighting. This synthesis of organic inspiration, technical precision, and sculptural aesthetics gives the luminaire a distinctive presence in contemporary interior design.
The name “Lumenica” is formed from the Latin word “lumen,” meaning light, combined with an expressive ending to highlight the artistic and distinctive character of the design. This name reflects the main concept of the luminaire, focusing on both the quality of light and its sculptural expression. It emphasizes the dual role of the piece as a source of illumination and as a unique visual accent.
The development of the Lumenica luminaire involved a combination of digital and traditional tools. Parametric modeling was performed in Solid Works to shape and refine the glass form. Visualization and rendering were completed in KeyShot. Physical prototyping and material exploration included glass molding techniques and manual finishing to test optical and tactile qualities. This combination allowed for precise control over geometry and aesthetics while ensuring a high level of craftsmanship.
The most unique aspect of the Lumenica luminaire is its single, spiraling glass body that incorporates a complex parametric relief. This structure transforms both the light output and the visual perception of the object, creating dynamic gradients, reflections, and shifting shadows. The deliberate combination of matte and glossy surfaces within one form further enhances the interplay of light, making the luminaire appear alive and constantly changing depending on the environment.
The design of the Lumenica luminaire was developed by student Maria Kolesnikova in collaboration with Professors Nataliia Vergunova and Sergey Vergunov, heads of the Departments of Design and 3D Modeling and Design and Interior at O.M. Beketov National University of Urban Economy in Kharkiv. Their expertise in design methodology and material technologies was essential for refining the concept, selecting appropriate techniques, and achieving a high standard of execution. This collaboration combined creative direction with technical and academic support throughout the development process.
Within the framework of the academic project, the prototype of the Lumenica luminaire was realized using 3D printing technology. This approach enabled the precise fabrication of the complex, parametric form and allowed for detailed study of the design’s geometry and optical effects before considering production in glass. 3D printing played a key role in transforming the digital concept into a physical object for testing and presentation.
The design process for the Lumenica luminaire was informed by analytical research into natural growth patterns and biomimetic principles, particularly focusing on spirals and phyllotaxis in plants and shells. Parametric studies were conducted to explore how these patterns could be translated into a functional and visually engaging object. Additional research included material analysis and the study of light diffusion in different glass textures, as well as a review of contemporary trends in lighting and interior design. This combination of scientific observation, digital experimentation, and theoretical study ensured that the final design was both conceptually grounded and practically effective.
Several challenges arose during the design and realization of the Lumenica luminaire. Achieving the precise geometry of the twisted, parametric form required careful modeling and repeated adjustments in digital environments. Translating the complex digital model into a physical prototype with 3D printing involved technical difficulties, such as ensuring structural stability and surface quality. Material testing also revealed the importance of balancing optical effects with manufacturability. Throughout the process, it was necessary to refine both the form and the production methods to meet the intended aesthetic and functional goals.
The decision to submit the Lumenica luminaire to an international design competition was motivated by a desire to share the results of academic and creative work with a broader professional community. The opportunity to participate was provided directly by the competition organizers for universities, which encouraged engagement with global design standards and best practices. Participation in such competitions offers valuable opportunities for feedback, recognition, and the potential for collaboration with industry experts. Showcasing the project on an international platform also supports the development of professional skills and raises the visibility of both the designer and the academic institution. Special thanks to the A' Design Award organizers for providing this opportunity.
Working on the Lumenica luminaire provided valuable experience in integrating digital modeling, material experimentation, and practical prototyping. The process enhanced skills in parametric design, 3D printing, and the study of light behavior in complex forms. It also deepened the understanding of biomimetic principles and their application in contemporary product design. Collaboration with academic mentors contributed to the development of critical thinking and problem-solving abilities, as well as a greater appreciation for the balance between artistic vision and technical feasibility.
This project demonstrates the value of academic collaboration and the creative potential of combining traditional and digital techniques in contemporary design education. Special thanks to the Department of Design and 3D Modeling and the Department of Design and Interior, Educational and Scientific Institute of Architecture, Urban Planning and Design, O.M. Beketov National University of Urban Economy in Kharkiv, and the organizers of the A' Design Award for their support and the opportunity to present the Lumenica luminaire internationally. The experience highlighted the importance of experimentation, persistence, and the willingness to embrace new technologies in the pursuit of innovative design solutions.
Designer Interview
13 September 2025
Nataliia Vergunova:
From an early age, I was fascinated by the interplay between form, space, and emotion. My academic background in design and architecture, along with years of professional experience in both education and creative practice, has allowed me to explore this fascination deeply. I’ve always been drawn to the poetic potential of materials, light, and structure, how they can shape perception and atmosphere. Becoming a designer was a natural evolution of that curiosity. It’s a field where artistic expression meets problem-solving, and that balance continues to inspire me every day.
Sergey Vergunov:
Not always. Initially, I wanted to be an artist, and in 1975 I entered an art school, which I graduated from in 1979. After the school, I tried to enter the Kharkov Art and Industrial Institute (Khudprom) on the specialty “Interior and equipment”, but did not pass the competition. At that time, for one student place in the institute, depending on the specialty, claimed from 5-6 to 40 people. Then I served in the army, in the border troops on the border with Afghanistan (1979 - 1982). Returning to Kharkov, I again tried to enter Khudprom, but by my own stupidity did not take advantage of the benefits of admission, which were entitled after serving in the army and again did not pass the competition. One of the examiners found out about it and took me to the rector. To avoid a scandal I was offered a place at the Rabfak (a working faculty with one-year training in a specialty and with a guaranteed subsequent enrollment in the students). But at the end of rabfaka place was occupied by the same army man as me, and I was offered a specialty “Artistic Design”, today's analog of industrial design. I agreed and I do not regret it at all. I immediately liked this specialty, although before that I had no idea about this profession. I was one of the best students, and after graduation, in 1988, I was invited to the department as a teacher, where I worked for almost 30 years. In 2017, I moved to another university and opened my own department “Interior Design” with the educational level “Bachelor”.
Maria Kolesnikova:
I studied for four years at Kharkiv National University of Urban Economy named after O. M. Beketov and will graduate in 2025. During this time, I took part in various competitions and developed strong skills through course projects. I've always wanted to be a designer because I saw this profession as meaningful and interesting and I wasn’t wrong.
From an early age, I was fascinated by the interplay between form, space, and emotion. My academic background in design and architecture, along with years of professional experience in both education and creative practice, has allowed me to explore this fascination deeply. I’ve always been drawn to the poetic potential of materials, light, and structure, how they can shape perception and atmosphere. Becoming a designer was a natural evolution of that curiosity. It’s a field where artistic expression meets problem-solving, and that balance continues to inspire me every day.
Sergey Vergunov:
Not always. Initially, I wanted to be an artist, and in 1975 I entered an art school, which I graduated from in 1979. After the school, I tried to enter the Kharkov Art and Industrial Institute (Khudprom) on the specialty “Interior and equipment”, but did not pass the competition. At that time, for one student place in the institute, depending on the specialty, claimed from 5-6 to 40 people. Then I served in the army, in the border troops on the border with Afghanistan (1979 - 1982). Returning to Kharkov, I again tried to enter Khudprom, but by my own stupidity did not take advantage of the benefits of admission, which were entitled after serving in the army and again did not pass the competition. One of the examiners found out about it and took me to the rector. To avoid a scandal I was offered a place at the Rabfak (a working faculty with one-year training in a specialty and with a guaranteed subsequent enrollment in the students). But at the end of rabfaka place was occupied by the same army man as me, and I was offered a specialty “Artistic Design”, today's analog of industrial design. I agreed and I do not regret it at all. I immediately liked this specialty, although before that I had no idea about this profession. I was one of the best students, and after graduation, in 1988, I was invited to the department as a teacher, where I worked for almost 30 years. In 2017, I moved to another university and opened my own department “Interior Design” with the educational level “Bachelor”.
Maria Kolesnikova:
I studied for four years at Kharkiv National University of Urban Economy named after O. M. Beketov and will graduate in 2025. During this time, I took part in various competitions and developed strong skills through course projects. I've always wanted to be a designer because I saw this profession as meaningful and interesting and I wasn’t wrong.
Nataliia Vergunova, Sergey Vergunov, Maria Kolesnikova:
At O.M. Beketov National University of Urban Economy in Kharkiv, the design faculty is represented by two closely integrated academic departments: the «Department of Design and 3D Modeling», which I have the privilege to lead, and the «Department of Design and Interior Design», headed by Professor Sergey Vergunov. Together, these departments form a dynamic ecosystem for design education, digital experimentation, and applied research.
«Department of Design and 3D Modeling» focuses on visual communications, multimedia design and advanced 3D modeling. Our specialization lies in the integration of cutting-edge technologies, such as artificial intelligence, generative algorithms, parametric modeling, and immersive environments, into both academic practice and real-world applications. Our students and faculty regularly participate in international design competitions and develop projects that span physical prototyping, digital fabrication, and virtual interaction. The «Lumenica» luminaire project, which received the Bronze A' Design Award, is one such example of this synergy between research and practice.
The «Department of Design and Interior Design», under the leadership of Professor Vergunov, is renowned for its work in product design, interior spatial design and environmental aesthetics. It emphasizes a conceptual and human-centered approach to shaping interior environments, with strong foundations in both artistic expression and digital representation.
While rooted in academia, both departments operate with the rigor and ambition of design studios, nurturing original ideas, facilitating interdisciplinary collaboration, and maintaining a strong presence in the international design community. Together, we create a space where education and innovation converge, preparing future designers to think critically, work experimentally, and engage responsibly with the built and digital environment.
At O.M. Beketov National University of Urban Economy in Kharkiv, the design faculty is represented by two closely integrated academic departments: the «Department of Design and 3D Modeling», which I have the privilege to lead, and the «Department of Design and Interior Design», headed by Professor Sergey Vergunov. Together, these departments form a dynamic ecosystem for design education, digital experimentation, and applied research.
«Department of Design and 3D Modeling» focuses on visual communications, multimedia design and advanced 3D modeling. Our specialization lies in the integration of cutting-edge technologies, such as artificial intelligence, generative algorithms, parametric modeling, and immersive environments, into both academic practice and real-world applications. Our students and faculty regularly participate in international design competitions and develop projects that span physical prototyping, digital fabrication, and virtual interaction. The «Lumenica» luminaire project, which received the Bronze A' Design Award, is one such example of this synergy between research and practice.
The «Department of Design and Interior Design», under the leadership of Professor Vergunov, is renowned for its work in product design, interior spatial design and environmental aesthetics. It emphasizes a conceptual and human-centered approach to shaping interior environments, with strong foundations in both artistic expression and digital representation.
While rooted in academia, both departments operate with the rigor and ambition of design studios, nurturing original ideas, facilitating interdisciplinary collaboration, and maintaining a strong presence in the international design community. Together, we create a space where education and innovation converge, preparing future designers to think critically, work experimentally, and engage responsibly with the built and digital environment.
Nataliia Vergunova:
Design, to me, is a dialogue between intention and experience. It’s the act of shaping not just objects, but interactions and emotions. Good design speaks without words, it influences how we feel, how we move, and how we relate to the world around us. It’s both intuitive and intellectual. For me, design is a powerful tool for storytelling, transformation, and connection, whether through a light fixture, a public space, or an everyday object.
Sergey Vergunov:
Lifestyle. I am constantly in a “design” state: teaching this profession to children and designing for adults. At a certain stage, for some, design becomes more than just a profession or a means of making money. It becomes the meaning of life. And then design becomes a pastime for a select few. When you design not for the sake of someone, but for yourself, for the process itself. When a long nurtured idea is born out of nothing, when it materializes into a model, a subject, an object, the moment of truth comes. Only the chosen ones can do it. I count myself among such people.
Maria Kolesnikova:
For me, design is a way to look at familiar things from a new angle and make them better. It’s both useful and exciting, it solves problems and brings fresh meaning to everyday life.
Design, to me, is a dialogue between intention and experience. It’s the act of shaping not just objects, but interactions and emotions. Good design speaks without words, it influences how we feel, how we move, and how we relate to the world around us. It’s both intuitive and intellectual. For me, design is a powerful tool for storytelling, transformation, and connection, whether through a light fixture, a public space, or an everyday object.
Sergey Vergunov:
Lifestyle. I am constantly in a “design” state: teaching this profession to children and designing for adults. At a certain stage, for some, design becomes more than just a profession or a means of making money. It becomes the meaning of life. And then design becomes a pastime for a select few. When you design not for the sake of someone, but for yourself, for the process itself. When a long nurtured idea is born out of nothing, when it materializes into a model, a subject, an object, the moment of truth comes. Only the chosen ones can do it. I count myself among such people.
Maria Kolesnikova:
For me, design is a way to look at familiar things from a new angle and make them better. It’s both useful and exciting, it solves problems and brings fresh meaning to everyday life.
Nataliia Vergunova:
I am most passionate about designing objects and spaces that evoke emotion and invite interaction. Lighting design, in particular, holds a special place in my heart because of its ability to transform perception through subtle shifts in material, form, and illumination. I enjoy exploring organic forms, modularity, and the potential of new materials to push the boundaries of traditional design. Projects that challenge conventions and offer poetic or immersive experiences resonate deeply with me.
Sergey Vergunov:
I'm an omnivore. I like design in principle. I mainly work in three specializations: industrial design, interior design and graphic design.
Maria Kolesnikova:
I enjoy redesigning things that already exist exploring new forms and rethinking familiar concepts in unexpected ways.
I am most passionate about designing objects and spaces that evoke emotion and invite interaction. Lighting design, in particular, holds a special place in my heart because of its ability to transform perception through subtle shifts in material, form, and illumination. I enjoy exploring organic forms, modularity, and the potential of new materials to push the boundaries of traditional design. Projects that challenge conventions and offer poetic or immersive experiences resonate deeply with me.
Sergey Vergunov:
I'm an omnivore. I like design in principle. I mainly work in three specializations: industrial design, interior design and graphic design.
Maria Kolesnikova:
I enjoy redesigning things that already exist exploring new forms and rethinking familiar concepts in unexpected ways.
Nataliia Vergunova:
One of my favorite designs in industrial design history is the E1027 adjustable table by Eileen Gray. Designed in the late 1920s, it remains a timeless example of how form, function, and elegance can coexist in perfect balance. What fascinates me about this piece is its clarity of purpose combined with its sculptural presence, it is utilitarian without being utilitarianist.
Sergey Vergunov:
Industrial Design. It is the quintessence of design and requires maximum concentration and extensive knowledge in many fields. Especially when it comes to designing specific objects and items, such as the “Condom Inspection Quality Machine”.
Maria Kolesnikova:
One of my favorite design objects is the Arco floor lamp by Achille and Pier Giacomo Castiglioni. I admire its clean and timeless design. Even decades after its creation, the lamp remains relevant and continues to fit naturally into modern interiors
One of my favorite designs in industrial design history is the E1027 adjustable table by Eileen Gray. Designed in the late 1920s, it remains a timeless example of how form, function, and elegance can coexist in perfect balance. What fascinates me about this piece is its clarity of purpose combined with its sculptural presence, it is utilitarian without being utilitarianist.
Sergey Vergunov:
Industrial Design. It is the quintessence of design and requires maximum concentration and extensive knowledge in many fields. Especially when it comes to designing specific objects and items, such as the “Condom Inspection Quality Machine”.
Maria Kolesnikova:
One of my favorite design objects is the Arco floor lamp by Achille and Pier Giacomo Castiglioni. I admire its clean and timeless design. Even decades after its creation, the lamp remains relevant and continues to fit naturally into modern interiors
Nataliia Vergunova:
As a 3rd year student, developed transformable radio equipment.
Sergey Vergunov:
Children's toy “All-terrain vehicle - tractor - crane”, while still a third-year student of KHPI.
Maria Kolesnikova:
My first major design project at university was in my second year. We had to create a mascot for the departments, which was later turned into a stationery case. I came up with the idea of a tiger-shaped case, and it was eventually produced.
As a 3rd year student, developed transformable radio equipment.
Sergey Vergunov:
Children's toy “All-terrain vehicle - tractor - crane”, while still a third-year student of KHPI.
Maria Kolesnikova:
My first major design project at university was in my second year. We had to create a mascot for the departments, which was later turned into a stationery case. I came up with the idea of a tiger-shaped case, and it was eventually produced.
Nataliia Vergunova:
Metal is one of my favorite materials to work with, both for its structural potential and its expressive versatility. What I find compelling about metal is its duality: it can be cold, precise, and industrial, yet also warm, fluid, and sculptural depending on how it is treated. This adaptability makes it an ideal medium for exploring contrasts in form, texture, and light.
Sergey Vergunov:
As an industrial designer, I don't have that. I have to learn and work with materials and technologies in the context of a future project. If we consider design tools as a platform, my favorite is SolidWorks.
Maria Kolesnikova:
My favorite material is wood. It’s natural, warm, and visually rich. Wood pairs beautifully with many other materials, making it versatile and timeless in design.
Metal is one of my favorite materials to work with, both for its structural potential and its expressive versatility. What I find compelling about metal is its duality: it can be cold, precise, and industrial, yet also warm, fluid, and sculptural depending on how it is treated. This adaptability makes it an ideal medium for exploring contrasts in form, texture, and light.
Sergey Vergunov:
As an industrial designer, I don't have that. I have to learn and work with materials and technologies in the context of a future project. If we consider design tools as a platform, my favorite is SolidWorks.
Maria Kolesnikova:
My favorite material is wood. It’s natural, warm, and visually rich. Wood pairs beautifully with many other materials, making it versatile and timeless in design.
Nataliia Vergunova:
I feel most creative at the moment when a concept transitions from an abstract idea into a structured design system, when visual intuition is reinforced by methodology. Creativity emerges in the tension between clarity and ambiguity. Sometimes it begins with a material's unexpected behavior, other times it arises from a philosophical question or an aesthetic constraint. Interestingly, the dialogue with students and academic teams also stimulates creativity: teaching becomes a medium of reflection and innovation.
Sergey Vergunov:
Always. But especially in the bathtub or on the road. At this time, nothing prevents you from thinking about future projects.
Maria Kolesnikova:
I feel most creative after listening to good music. It deeply inspires me and helps unlock new ideas and moods in my design process.
I feel most creative at the moment when a concept transitions from an abstract idea into a structured design system, when visual intuition is reinforced by methodology. Creativity emerges in the tension between clarity and ambiguity. Sometimes it begins with a material's unexpected behavior, other times it arises from a philosophical question or an aesthetic constraint. Interestingly, the dialogue with students and academic teams also stimulates creativity: teaching becomes a medium of reflection and innovation.
Sergey Vergunov:
Always. But especially in the bathtub or on the road. At this time, nothing prevents you from thinking about future projects.
Maria Kolesnikova:
I feel most creative after listening to good music. It deeply inspires me and helps unlock new ideas and moods in my design process.
Nataliia Vergunova:
I focus most intensely on the relationship between form and human interaction. My approach is holistic but driven by the desire to make a design emotionally resonant and spatially coherent. Functionality and ergonomics are crucial, but so is the semantic layer: what the design communicates, how it shifts perception, and how it transforms its environment. Whether it's a luminaire, an interior, or a digital installation, I am constantly balancing geometry, atmosphere, and narrative.
Sergey Vergunov:
Beauty and usefulness.
Maria Kolesnikova:
I pay close attention to functionality and ergonomics. For me, these are essential aspects of thoughtful and effective design.
I focus most intensely on the relationship between form and human interaction. My approach is holistic but driven by the desire to make a design emotionally resonant and spatially coherent. Functionality and ergonomics are crucial, but so is the semantic layer: what the design communicates, how it shifts perception, and how it transforms its environment. Whether it's a luminaire, an interior, or a digital installation, I am constantly balancing geometry, atmosphere, and narrative.
Sergey Vergunov:
Beauty and usefulness.
Maria Kolesnikova:
I pay close attention to functionality and ergonomics. For me, these are essential aspects of thoughtful and effective design.
Nataliia Vergunova:
Designing brings a rich spectrum of emotions, ranging from anticipation and curiosity to deep concentration and reflection. There is a sense of joy in experimentation, in discovering unexpected connections between form, function, and meaning. At the same time, the process carries a sense of responsibility, as every design choice contributes to shaping human experience and cultural context. It is often a meditative journey, punctuated by moments of uncertainty and insight, making the act of designing both challenging and profoundly rewarding.
Sergey Vergunov:
Only positive ones. It is a great sacrament and to realize that you are good at it sometimes is very satisfying.
Maria Kolesnikova:
During design, I feel focused and calm. It’s a balanced process that helps me think clearly and solve problems.
Designing brings a rich spectrum of emotions, ranging from anticipation and curiosity to deep concentration and reflection. There is a sense of joy in experimentation, in discovering unexpected connections between form, function, and meaning. At the same time, the process carries a sense of responsibility, as every design choice contributes to shaping human experience and cultural context. It is often a meditative journey, punctuated by moments of uncertainty and insight, making the act of designing both challenging and profoundly rewarding.
Sergey Vergunov:
Only positive ones. It is a great sacrament and to realize that you are good at it sometimes is very satisfying.
Maria Kolesnikova:
During design, I feel focused and calm. It’s a balanced process that helps me think clearly and solve problems.
Nataliia Vergunova:
When a design is realized, I experience a profound sense of fulfillment mixed with reflection. There is pride in seeing an idea take form, but also a quiet awareness that the object or space now belongs to others: to users, observers, and the urban or emotional fabric in which it is embedded.
Sergey Vergunov:
Professional delight. Especially when they are as true to the original you came up with as possible. Unfortunately, this is not always the case.
Maria Kolesnikova:
I feel pride and relief when a project is completed. It’s a rewarding and joyful moment to see ideas come to life.
When a design is realized, I experience a profound sense of fulfillment mixed with reflection. There is pride in seeing an idea take form, but also a quiet awareness that the object or space now belongs to others: to users, observers, and the urban or emotional fabric in which it is embedded.
Sergey Vergunov:
Professional delight. Especially when they are as true to the original you came up with as possible. Unfortunately, this is not always the case.
Maria Kolesnikova:
I feel pride and relief when a project is completed. It’s a rewarding and joyful moment to see ideas come to life.
Nataliia Vergunova:
A design is successful when it achieves harmony between function, aesthetics, and meaning. It must solve a real problem or enhance an experience, while also offering visual and emotional depth. A truly effective design engages its users intuitively and resonates beyond its immediate use, provoking thought, evoking feeling, or encouraging dialogue. Success also lies in adaptability, clarity of concept, and the ability of the design to remain relevant in a changing context.
Sergey Vergunov:
When the tandem of “beauty and usefulness” is organically joined by an adequate price of the product for the end consumer.
Maria Kolesnikova:
I believe a design is successful when the idea is well executed and meets its purpose.
A design is successful when it achieves harmony between function, aesthetics, and meaning. It must solve a real problem or enhance an experience, while also offering visual and emotional depth. A truly effective design engages its users intuitively and resonates beyond its immediate use, provoking thought, evoking feeling, or encouraging dialogue. Success also lies in adaptability, clarity of concept, and the ability of the design to remain relevant in a changing context.
Sergey Vergunov:
When the tandem of “beauty and usefulness” is organically joined by an adequate price of the product for the end consumer.
Maria Kolesnikova:
I believe a design is successful when the idea is well executed and meets its purpose.
Nataliia Vergunova:
The first aspect I evaluate is the conceptual integrity, whether the design expresses a clear idea and whether its form supports that idea consistently. I then assess its functionality and user-centeredness: how well it serves its intended purpose and whether it considers the needs, behaviors, and limitations of its users. Materiality, detailing, and environmental context follow. A good design is not just beautiful or original, it is thoughtful, intentional, and responsible in its execution.
Sergey Vergunov:
To the same ones - beauty and usefulness. But now it is benefit first, and then beauty.
Maria Kolesnikova:
When evaluating design, I first look at functionality, ergonomics, and how well the idea is implemented.
The first aspect I evaluate is the conceptual integrity, whether the design expresses a clear idea and whether its form supports that idea consistently. I then assess its functionality and user-centeredness: how well it serves its intended purpose and whether it considers the needs, behaviors, and limitations of its users. Materiality, detailing, and environmental context follow. A good design is not just beautiful or original, it is thoughtful, intentional, and responsible in its execution.
Sergey Vergunov:
To the same ones - beauty and usefulness. But now it is benefit first, and then beauty.
Maria Kolesnikova:
When evaluating design, I first look at functionality, ergonomics, and how well the idea is implemented.
Nataliia Vergunova:
Designers carry a profound responsibility to both society and the environment. Every project we create influences the way people live, perceive space, and relate to one another. Ethically, we must design with inclusion, accessibility, and cultural sensitivity in mind. Environmentally, it is essential to consider material sustainability, energy use, and lifecycle impact. Designers are not just problem-solvers, they are also cultural narrators and stewards of the built and natural world. Our work should aspire to improve the quality of life while minimizing harm and fostering long-term resilience.
Sergey Vergunov:
Before society - in creating beautiful and useful things. In front of the environment - the question is debatable: a designer does not influence deforestation in the Carpathians or the Amazon. Nor does it affect many other factors that harm the environment. Unfortunately.
Maria Kolesnikova:
A designer has a responsibility to create solutions that are not only functional and aesthetic, but also sustainable and socially conscious.
Designers carry a profound responsibility to both society and the environment. Every project we create influences the way people live, perceive space, and relate to one another. Ethically, we must design with inclusion, accessibility, and cultural sensitivity in mind. Environmentally, it is essential to consider material sustainability, energy use, and lifecycle impact. Designers are not just problem-solvers, they are also cultural narrators and stewards of the built and natural world. Our work should aspire to improve the quality of life while minimizing harm and fostering long-term resilience.
Sergey Vergunov:
Before society - in creating beautiful and useful things. In front of the environment - the question is debatable: a designer does not influence deforestation in the Carpathians or the Amazon. Nor does it affect many other factors that harm the environment. Unfortunately.
Maria Kolesnikova:
A designer has a responsibility to create solutions that are not only functional and aesthetic, but also sustainable and socially conscious.
Nataliia Vergunova:
The design field is evolving into a space where disciplines converge and boundaries dissolve. No longer limited to aesthetics or functionality alone, design today is increasingly about systems thinking, emotional intelligence, and social impact. We are witnessing a shift from object-centered design to experience-driven and ethically aware practices, where the designer is not just a form-giver, but a mediator between technology, humanity, and the environment. The future of design lies in interdisciplinarity and adaptability. Advances in artificial intelligence, immersive technologies, and sustainable materials are reshaping the tools we use and the questions we ask. Designers are now expected to engage not only with form and function but also with data, inclusivity, climate responsibility, and digital ecosystems.
Sergey Vergunov:
Design is an open multi-level structure: it creates new professions and new tools within professions, new species and new objects within species, and in the end - it creates new values! This has been happening much faster recently than at the beginning of the century. And there is a definite problem here - design science and methodology have not kept up with these changes. The future of design is likely to be in narrowly focused specialization.
Maria Kolesnikova:
Design is gradually shifting toward practicality, sustainability, and user comfort. I think it will continue to develop in this direction.
The design field is evolving into a space where disciplines converge and boundaries dissolve. No longer limited to aesthetics or functionality alone, design today is increasingly about systems thinking, emotional intelligence, and social impact. We are witnessing a shift from object-centered design to experience-driven and ethically aware practices, where the designer is not just a form-giver, but a mediator between technology, humanity, and the environment. The future of design lies in interdisciplinarity and adaptability. Advances in artificial intelligence, immersive technologies, and sustainable materials are reshaping the tools we use and the questions we ask. Designers are now expected to engage not only with form and function but also with data, inclusivity, climate responsibility, and digital ecosystems.
Sergey Vergunov:
Design is an open multi-level structure: it creates new professions and new tools within professions, new species and new objects within species, and in the end - it creates new values! This has been happening much faster recently than at the beginning of the century. And there is a definite problem here - design science and methodology have not kept up with these changes. The future of design is likely to be in narrowly focused specialization.
Maria Kolesnikova:
Design is gradually shifting toward practicality, sustainability, and user comfort. I think it will continue to develop in this direction.
Nataliia Vergunova, Sergey Vergunov:
In 2020, we invented and already twice held the international design campaign “VKHUTEMAS. VASILY YERMILOV. 3D”. It has the format of a triennale. The subject of the design-action is to develop your own version of one of the famous works by Vasily Yermilov or other constructivists by means of 3D-modeling. The last exhibition of works was held in 2023, and we plan to hold the next one in 2026.
Maria Kolesnikova:
My first exhibition was Constructivism. Vasyl Yermylov. 3D (2023), organized in Kharkiv by university departments. It was dedicated to the theme of constructivism and featured student works inspired by the movement.
In 2020, we invented and already twice held the international design campaign “VKHUTEMAS. VASILY YERMILOV. 3D”. It has the format of a triennale. The subject of the design-action is to develop your own version of one of the famous works by Vasily Yermilov or other constructivists by means of 3D-modeling. The last exhibition of works was held in 2023, and we plan to hold the next one in 2026.
Maria Kolesnikova:
My first exhibition was Constructivism. Vasyl Yermylov. 3D (2023), organized in Kharkiv by university departments. It was dedicated to the theme of constructivism and featured student works inspired by the movement.
Nataliia Vergunova:
My inspiration often begins with nature, not just its forms, but its systems, rhythms, and quiet intelligence. I’m drawn to the elegance of biomorphic structures, the way organic forms evolve in response to their environment. This fascination with natural processes feeds into my design language, which often explores fluidity, transformation, and emotional resonance.
Sergey Vergunov:
The world around me. And the people around me. My students.
Maria Kolesnikova:
I find inspiration in music and travel. They help me see things from new perspectives and spark fresh ideas.
My inspiration often begins with nature, not just its forms, but its systems, rhythms, and quiet intelligence. I’m drawn to the elegance of biomorphic structures, the way organic forms evolve in response to their environment. This fascination with natural processes feeds into my design language, which often explores fluidity, transformation, and emotional resonance.
Sergey Vergunov:
The world around me. And the people around me. My students.
Maria Kolesnikova:
I find inspiration in music and travel. They help me see things from new perspectives and spark fresh ideas.
Nataliia Vergunova:
I would describe my design style as poetic minimalism infused with organic expression. It’s a balance between clarity and complexity, where every element serves both a functional and emotional purpose. My work often explores fluid forms, tactile surfaces, and the interplay between material, light, and space. There's a strong emphasis on creating objects and environments that feel alive, responsive, immersive, and resonant with natural rhythms.
Sergey Vergunov:
Sensual minimalism. Its characteristics follow from the name. As for the approach to design - I don't really understand the question. Design can be practiced or not.
Maria Kolesnikova:
I would describe my style as functional and balanced, with a focus on clean lines and thoughtful details. I’m drawn to simplicity, but I always look for a way to add a unique accent to each project. My approach is to create designs that are practical and visually calming, the kind of things people can comfortably live with every day.
I would describe my design style as poetic minimalism infused with organic expression. It’s a balance between clarity and complexity, where every element serves both a functional and emotional purpose. My work often explores fluid forms, tactile surfaces, and the interplay between material, light, and space. There's a strong emphasis on creating objects and environments that feel alive, responsive, immersive, and resonant with natural rhythms.
Sergey Vergunov:
Sensual minimalism. Its characteristics follow from the name. As for the approach to design - I don't really understand the question. Design can be practiced or not.
Maria Kolesnikova:
I would describe my style as functional and balanced, with a focus on clean lines and thoughtful details. I’m drawn to simplicity, but I always look for a way to add a unique accent to each project. My approach is to create designs that are practical and visually calming, the kind of things people can comfortably live with every day.
Nataliia Vergunova:
I live in Kharkiv, one of Ukraine’s major cultural and educational centers, known for its architectural diversity, intellectual heritage, and creative energy. The city has a rich modernist legacy and a strong academic tradition in design and engineering, which continues to shape my professional outlook. Growing up and working in Kharkiv, I’ve been surrounded by a blend of historical layers: Constructivist architecture and contemporary Ukrainian art, which all influence my design sensibility.
Sergey Vergunov:
In the city of Kharkiv, in the country of Ukraine. If the cultural heritage of the country is considered as a social and educational factor, then we can say that it has an impact. I have an opportunity to do what I like quite freely, and this is a plus. On the downside, I will refer to the long-term decline in the level of industrial production, which is a determining factor in industrial design.
Maria Kolesnikova:
I live in Ukraine. The cultural heritage and local environment influence my design taste and often inspire how I approach form and detail. One of the advantages is a rich visual tradition to draw from. A challenge, however, can be limited access to some materials and production resources.
I live in Kharkiv, one of Ukraine’s major cultural and educational centers, known for its architectural diversity, intellectual heritage, and creative energy. The city has a rich modernist legacy and a strong academic tradition in design and engineering, which continues to shape my professional outlook. Growing up and working in Kharkiv, I’ve been surrounded by a blend of historical layers: Constructivist architecture and contemporary Ukrainian art, which all influence my design sensibility.
Sergey Vergunov:
In the city of Kharkiv, in the country of Ukraine. If the cultural heritage of the country is considered as a social and educational factor, then we can say that it has an impact. I have an opportunity to do what I like quite freely, and this is a plus. On the downside, I will refer to the long-term decline in the level of industrial production, which is a determining factor in industrial design.
Maria Kolesnikova:
I live in Ukraine. The cultural heritage and local environment influence my design taste and often inspire how I approach form and detail. One of the advantages is a rich visual tradition to draw from. A challenge, however, can be limited access to some materials and production resources.
Nataliia Vergunova, Sergey Vergunov:
It's all very individualized and depends on the customers.
Maria Kolesnikova:
During my studies, I had the opportunity to work with real clients twice. The first was Kharkiv Municipal Dentistry, for which I developed an interior design. The second was the Ukrainian furniture company KUBIS, which commissioned a two-story modular exhibition cluster. Working with real clients is a valuable experience for a student.
It's all very individualized and depends on the customers.
Maria Kolesnikova:
During my studies, I had the opportunity to work with real clients twice. The first was Kharkiv Municipal Dentistry, for which I developed an interior design. The second was the Ukrainian furniture company KUBIS, which commissioned a two-story modular exhibition cluster. Working with real clients is a valuable experience for a student.
Nataliia Vergunova:
To work effectively with a designer, companies should begin by viewing design not just as a decorative or final-stage task, but as a strategic process that adds value at every level, from concept development to user experience. A successful collaboration is built on mutual trust, clear communication, and a shared understanding of goals. It’s essential to involve designers early in the process, allowing space for creative thinking and innovation before decisions are fixed by technical or market constraints.
Sergey Vergunov:
Do not be greedy and realize that the designer is not their enemy, but their assistant in business. And don't try to realize only your “desires” through the designer.
Maria Kolesnikova:
I would recommend that companies keep clear communication with the designer and give constructive feedback throughout the project. It's also important to trust the designer's expertise and be open to creative solutions. A good designer is someone who can listen, adapt to the task, and bring value through thoughtful and functional design.
To work effectively with a designer, companies should begin by viewing design not just as a decorative or final-stage task, but as a strategic process that adds value at every level, from concept development to user experience. A successful collaboration is built on mutual trust, clear communication, and a shared understanding of goals. It’s essential to involve designers early in the process, allowing space for creative thinking and innovation before decisions are fixed by technical or market constraints.
Sergey Vergunov:
Do not be greedy and realize that the designer is not their enemy, but their assistant in business. And don't try to realize only your “desires” through the designer.
Maria Kolesnikova:
I would recommend that companies keep clear communication with the designer and give constructive feedback throughout the project. It's also important to trust the designer's expertise and be open to creative solutions. A good designer is someone who can listen, adapt to the task, and bring value through thoughtful and functional design.
Nataliia Vergunova:
My design process is a balance of research, intuition, and material exploration. It starts with defining a clear concept, often inspired by nature, culture, or emotional context, followed by quick sketches and models to explore form and experience. Material behavior, especially light interaction and texture, plays a key role early on. I then refine the design through digital iterations and prototyping, ensuring functionality, emotional impact, and manufacturability. Collaboration with engineers or artisans is often part of this phase. Throughout, I focus on clarity, coherence, and emotional resonance. For me, a successful design not only solves a problem, but also creates a meaningful, sensory experience.
Sergey Vergunov:
In all likelihood, it is the same as everyone else's: studying analogues and prototypes, sketching, working out the basic variant, creating a visualization or conditional prototype in the form required by the customer. Perhaps the only obvious difference is that I have not been drawing anything “by hand” for the last 20-25 years. I immediately start sketching in life-size 3D with respect to the real proportions of the object or subject. It's disciplined.
Maria Kolesnikova:
My design process starts with exploring ideas and sketching. After that, I move to detailed development, which usually flows more smoothly once the concept is clear.
My design process is a balance of research, intuition, and material exploration. It starts with defining a clear concept, often inspired by nature, culture, or emotional context, followed by quick sketches and models to explore form and experience. Material behavior, especially light interaction and texture, plays a key role early on. I then refine the design through digital iterations and prototyping, ensuring functionality, emotional impact, and manufacturability. Collaboration with engineers or artisans is often part of this phase. Throughout, I focus on clarity, coherence, and emotional resonance. For me, a successful design not only solves a problem, but also creates a meaningful, sensory experience.
Sergey Vergunov:
In all likelihood, it is the same as everyone else's: studying analogues and prototypes, sketching, working out the basic variant, creating a visualization or conditional prototype in the form required by the customer. Perhaps the only obvious difference is that I have not been drawing anything “by hand” for the last 20-25 years. I immediately start sketching in life-size 3D with respect to the real proportions of the object or subject. It's disciplined.
Maria Kolesnikova:
My design process starts with exploring ideas and sketching. After that, I move to detailed development, which usually flows more smoothly once the concept is clear.
Nataliia Vergunova:
My own projects: table lamps, coffee tables, chairs, hangers, wall clocks, etc.
Sergey Vergunov:
My own projects: table lamps, wall clocks, cell phone stands, etc.
Maria Kolesnikova:
My five favorite home design items are lighting fixtures, shelving units, chairs, coffee tables, and wardrobe systems.
My own projects: table lamps, coffee tables, chairs, hangers, wall clocks, etc.
Sergey Vergunov:
My own projects: table lamps, wall clocks, cell phone stands, etc.
Maria Kolesnikova:
My five favorite home design items are lighting fixtures, shelving units, chairs, coffee tables, and wardrobe systems.
Nataliia Vergunova:
I usually wake up at 5 a.m., go through my morning routine, have breakfast, and enjoy about an hour and a half of free time. My classes typically begin at 8:30 a.m. and take place almost every day. Depending on the schedule, I work with students until around 3:55–5:55 p.m. I do project or research work after class.
Sergey Vergunov:
I get up at 6 a.m., clean myself up, have breakfast, and have an hour and a half of free time. At 8.30 a.m. classes start (actually every day) and depending on the number of pairs, I work with students until 15.55. After that I work with projects, as a rule, until 21 - 22 hours. Before going to bed I read for an hour and a half, then I sleep. Naturally, it can be different - it all depends on the current situation.
Maria Kolesnikova:
A typical day mostly revolves around my studies since my fourth year at university is quite demanding. I also make time for meeting friends and relaxing walks by the sea.
I usually wake up at 5 a.m., go through my morning routine, have breakfast, and enjoy about an hour and a half of free time. My classes typically begin at 8:30 a.m. and take place almost every day. Depending on the schedule, I work with students until around 3:55–5:55 p.m. I do project or research work after class.
Sergey Vergunov:
I get up at 6 a.m., clean myself up, have breakfast, and have an hour and a half of free time. At 8.30 a.m. classes start (actually every day) and depending on the number of pairs, I work with students until 15.55. After that I work with projects, as a rule, until 21 - 22 hours. Before going to bed I read for an hour and a half, then I sleep. Naturally, it can be different - it all depends on the current situation.
Maria Kolesnikova:
A typical day mostly revolves around my studies since my fourth year at university is quite demanding. I also make time for meeting friends and relaxing walks by the sea.
Nataliia Vergunova:
My main advice to young designers is: stay curious, stay resilient, and stay honest with yourself. Design is not just about trends or visual appeal, it’s about asking the right questions, observing the world deeply, and creating with purpose. Be open to interdisciplinary learning. Explore art, science, architecture, nature, anything that expands your way of thinking. Some of the most innovative ideas come from outside your comfort zone. At the same time, master the fundamentals, materials, structure, proportion, because strong ideas need a strong foundation.
Sergey Vergunov:
THE SEVEN DEADLY SINS OF A DESIGNER
1- Laziness is the main enemy of the designer! Do not be lazy, think about the project every minute under any circumstances. Go through the options until you find the one and only, the most correct and beautiful.
2. greed ruins the talent of the designer! Charge for your work exactly as much as it is worth. A greedy designer is poor spiritually and poor professionally.
3. Fornication wastes a designer's energy! Don't grab for more than one thing: do one thing, but thoughtfully, well and honestly.
4. Be angry at yourself if the project you're working on doesn't work out! No one else is to blame: not customers, not coworkers, not family.
5. Envy a good project, a witty idea, a beautiful form! But don't envy the designers who created them, because a designer's work is not easy and requires full dedication and diligence.
6. Gluttony dulls the designer's senses! Only a designer can create an emotionally intense project,
who preaches social consumption.
7. Be proud, but not haughty! Be proud of the work you've done. But remember that there is a designer somewhere who can do it better than you.
This text of mine has an extended interpretation, but it takes up a lot of space.
Maria Kolesnikova:
I’m still a beginning designer myself, but I’d like to encourage other young designers not to be afraid of entering competitions and staying active. Be persistent, patient, and keep learning new tools it will definitely pay off.
My main advice to young designers is: stay curious, stay resilient, and stay honest with yourself. Design is not just about trends or visual appeal, it’s about asking the right questions, observing the world deeply, and creating with purpose. Be open to interdisciplinary learning. Explore art, science, architecture, nature, anything that expands your way of thinking. Some of the most innovative ideas come from outside your comfort zone. At the same time, master the fundamentals, materials, structure, proportion, because strong ideas need a strong foundation.
Sergey Vergunov:
THE SEVEN DEADLY SINS OF A DESIGNER
1- Laziness is the main enemy of the designer! Do not be lazy, think about the project every minute under any circumstances. Go through the options until you find the one and only, the most correct and beautiful.
2. greed ruins the talent of the designer! Charge for your work exactly as much as it is worth. A greedy designer is poor spiritually and poor professionally.
3. Fornication wastes a designer's energy! Don't grab for more than one thing: do one thing, but thoughtfully, well and honestly.
4. Be angry at yourself if the project you're working on doesn't work out! No one else is to blame: not customers, not coworkers, not family.
5. Envy a good project, a witty idea, a beautiful form! But don't envy the designers who created them, because a designer's work is not easy and requires full dedication and diligence.
6. Gluttony dulls the designer's senses! Only a designer can create an emotionally intense project,
who preaches social consumption.
7. Be proud, but not haughty! Be proud of the work you've done. But remember that there is a designer somewhere who can do it better than you.
This text of mine has an extended interpretation, but it takes up a lot of space.
Maria Kolesnikova:
I’m still a beginning designer myself, but I’d like to encourage other young designers not to be afraid of entering competitions and staying active. Be persistent, patient, and keep learning new tools it will definitely pay off.
Nataliia Vergunova:
Being a designer means having the opportunity to transform ideas into meaningful experiences. It’s a creative and intellectually rich profession that allows constant growth, experimentation, and the joy of seeing your work impact people’s lives. The interdisciplinary nature of design also keeps it dynamic and inspiring. On the downside, design often involves unseen effort, long hours of research, iteration, and compromise. Balancing creativity with constraints and handling subjective feedback can be challenging. It also requires emotional resilience and a strong sense of purpose. Still, for those passionate about shaping the world thoughtfully, the rewards are worth it.
Sergey Vergunov:
I don't compartmentalize the designer's work that way.
Maria Kolesnikova:
One of the main advantages of being a designer is the opportunity to be creative and solve interesting problems. On the downside, the job often involves long hours sitting at a desk, which can affect health if not managed well.
Being a designer means having the opportunity to transform ideas into meaningful experiences. It’s a creative and intellectually rich profession that allows constant growth, experimentation, and the joy of seeing your work impact people’s lives. The interdisciplinary nature of design also keeps it dynamic and inspiring. On the downside, design often involves unseen effort, long hours of research, iteration, and compromise. Balancing creativity with constraints and handling subjective feedback can be challenging. It also requires emotional resilience and a strong sense of purpose. Still, for those passionate about shaping the world thoughtfully, the rewards are worth it.
Sergey Vergunov:
I don't compartmentalize the designer's work that way.
Maria Kolesnikova:
One of the main advantages of being a designer is the opportunity to be creative and solve interesting problems. On the downside, the job often involves long hours sitting at a desk, which can affect health if not managed well.
Nataliia Vergunova:
Design with intention, not decoration. Every element should serve a purpose, whether functional, emotional, or conceptual. Clarity, honesty in materials, and empathy for the user are essential. If a design communicates meaning and creates connection, it will endure.
Sergey Vergunov:
To be responsible and decent.
Maria Kolesnikova:
My golden rule in design is to keep things clear and functional. A good idea should always be easy to understand and comfortable to use.
Design with intention, not decoration. Every element should serve a purpose, whether functional, emotional, or conceptual. Clarity, honesty in materials, and empathy for the user are essential. If a design communicates meaning and creates connection, it will endure.
Sergey Vergunov:
To be responsible and decent.
Maria Kolesnikova:
My golden rule in design is to keep things clear and functional. A good idea should always be easy to understand and comfortable to use.
Nataliia Vergunova:
The most essential skills for a designer go beyond drawing or software. Critical thinking, empathy, and visual literacy are key, understanding not just how things look, but why they matter. A good designer must be able to observe, interpret, and translate ideas into form with clarity and purpose.
Sergey Vergunov:
Ability to work fluently in 3D.
Maria Kolesnikova:
The most important skills for a designer are creativity, attention to detail, and good communication. Problem-solving and time management are also essential.
The most essential skills for a designer go beyond drawing or software. Critical thinking, empathy, and visual literacy are key, understanding not just how things look, but why they matter. A good designer must be able to observe, interpret, and translate ideas into form with clarity and purpose.
Sergey Vergunov:
Ability to work fluently in 3D.
Maria Kolesnikova:
The most important skills for a designer are creativity, attention to detail, and good communication. Problem-solving and time management are also essential.
Nataliia Vergunova:
My design process is centered around digital tools. I primarily use Solid Works, Autodesk 3ds Max, KeyShot, etc. for modeling, visualization, and presentation. A drawing tablet is essential for quick sketching and concept refinement in a digital workflow. While I occasionally use hand sketches and physical models, most of my work is developed and tested in a virtual environment. I also draw inspiration from digital archives, online research platforms, and visual databases, which help me stay connected to global trends and innovations.
Sergey Vergunov:
Basically, I have already answered this question above. I can add about traveling as one of the sources of inspiration.
Maria Kolesnikova:
I use different design programs, but I prefer SolidWorks because it’s reliable and easy to work with for my projects.
My design process is centered around digital tools. I primarily use Solid Works, Autodesk 3ds Max, KeyShot, etc. for modeling, visualization, and presentation. A drawing tablet is essential for quick sketching and concept refinement in a digital workflow. While I occasionally use hand sketches and physical models, most of my work is developed and tested in a virtual environment. I also draw inspiration from digital archives, online research platforms, and visual databases, which help me stay connected to global trends and innovations.
Sergey Vergunov:
Basically, I have already answered this question above. I can add about traveling as one of the sources of inspiration.
Maria Kolesnikova:
I use different design programs, but I prefer SolidWorks because it’s reliable and easy to work with for my projects.
Nataliia Vergunova:
I balance deep work with short breaks to keep my mind fresh, and I try to leave space for reflection and iteration, which are essential to good design. Time management, for me, is about discipline, but also knowing when to pause and let ideas evolve naturally.
Sergey Vergunov:
The answer is in question 24.
Maria Kolesnikova:
I manage my time by breaking tasks into smaller steps and setting clear priorities. This helps me stay organized and avoid feeling overwhelmed.
I balance deep work with short breaks to keep my mind fresh, and I try to leave space for reflection and iteration, which are essential to good design. Time management, for me, is about discipline, but also knowing when to pause and let ideas evolve naturally.
Sergey Vergunov:
The answer is in question 24.
Maria Kolesnikova:
I manage my time by breaking tasks into smaller steps and setting clear priorities. This helps me stay organized and avoid feeling overwhelmed.
Nataliia Vergunova:
Individualized and unpredictable.
Sergey Vergunov:
Unpredictable. Everything depends on the object itself and on the state - “as it goes”.
Maria Kolesnikova:
Each project takes a different amount of time, depending on the complexity and scope of work. On average, it takes around sixteen weeks to complete.
Individualized and unpredictable.
Sergey Vergunov:
Unpredictable. Everything depends on the object itself and on the state - “as it goes”.
Maria Kolesnikova:
Each project takes a different amount of time, depending on the complexity and scope of work. On average, it takes around sixteen weeks to complete.
Nataliia Vergunova:
One of the questions I hear most often is: “Where do your ideas come from?” People are always curious about the source of creative inspiration. My answer is that ideas come from observation, research, and sensitivity to the world around me: nature, culture, materials, and human behavior. Inspiration isn’t a sudden spark, it’s a process of collecting impressions and translating them into meaningful design.
Sergey Vergunov:
How much do your services cost?
Maria Kolesnikova:
I’m often asked, “You’re a designer? So, what do you draw?” Unfortunately, many people around me, especially from the older generation, often confuse design with fine art.
One of the questions I hear most often is: “Where do your ideas come from?” People are always curious about the source of creative inspiration. My answer is that ideas come from observation, research, and sensitivity to the world around me: nature, culture, materials, and human behavior. Inspiration isn’t a sudden spark, it’s a process of collecting impressions and translating them into meaningful design.
Sergey Vergunov:
How much do your services cost?
Maria Kolesnikova:
I’m often asked, “You’re a designer? So, what do you draw?” Unfortunately, many people around me, especially from the older generation, often confuse design with fine art.
Nataliia Vergunova:
Working on the practical part of my PhD thesis when I developed a transformable mobility aid for people with disabilities.
Sergey Vergunov:
Working on a thesis project in 1988.
Maria Kolesnikova:
The most valuable experience for me has been working with clients and taking part in design competitions. One of the highlights was participating in the A’ Design Award.
Working on the practical part of my PhD thesis when I developed a transformable mobility aid for people with disabilities.
Sergey Vergunov:
Working on a thesis project in 1988.
Maria Kolesnikova:
The most valuable experience for me has been working with clients and taking part in design competitions. One of the highlights was participating in the A’ Design Award.
Nataliia Vergunova:
Local firms and companies.
Sergey Vergunov:
As a rule, these are local firms and companies. I can't boast about super famous brands. I can't get through there, but I don't need to.
Maria Kolesnikova:
I’m still a student and haven’t worked with many clients yet, but currently I’m working on creating an exhibition cluster for the furniture company KUBIS. They approached me as a future interior designer.
Local firms and companies.
Sergey Vergunov:
As a rule, these are local firms and companies. I can't boast about super famous brands. I can't get through there, but I don't need to.
Maria Kolesnikova:
I’m still a student and haven’t worked with many clients yet, but currently I’m working on creating an exhibition cluster for the furniture company KUBIS. They approached me as a future interior designer.
Nataliia Vergunova:
I most enjoy working on object and lighting design, especially when it involves sculptural form and material experimentation. These types of projects allow me to explore the intersection of aesthetics, function, and atmosphere.
Sergey Vergunov:
Industrial Design. Real Design is a great art. It is the creation of a new product, a new image, new consumer properties and qualities of a tangible, tangible, material object. It is an amazing sense of composition, proportions and ratios, mixed with an understanding of materials, construction and knowledge of technology. And I am interested in it.
Maria Kolesnikova:
I enjoy interior design and furniture creation because they are always engaging. Every project is different, and it’s interesting to find practical and aesthetic solutions each time.
I most enjoy working on object and lighting design, especially when it involves sculptural form and material experimentation. These types of projects allow me to explore the intersection of aesthetics, function, and atmosphere.
Sergey Vergunov:
Industrial Design. Real Design is a great art. It is the creation of a new product, a new image, new consumer properties and qualities of a tangible, tangible, material object. It is an amazing sense of composition, proportions and ratios, mixed with an understanding of materials, construction and knowledge of technology. And I am interested in it.
Maria Kolesnikova:
I enjoy interior design and furniture creation because they are always engaging. Every project is different, and it’s interesting to find practical and aesthetic solutions each time.
Nataliia Vergunova, Sergey Vergunov:
We live in a difficult time and place. It is not worth guessing what will happen next. But we hope for the best.
Maria Kolesnikova:
My plans are to finish university successfully and find a job in my field where I can gain experience and grow professionally.
We live in a difficult time and place. It is not worth guessing what will happen next. But we hope for the best.
Maria Kolesnikova:
My plans are to finish university successfully and find a job in my field where I can gain experience and grow professionally.
Nataliia Vergunova:
Working with my father, he instilled in me an interest in design.
Sergey Vergunov:
Usually with my daughter. She's a designer, too.
Maria Kolesnikova:
As a student, I work on my projects together with my instructors, Natalia and Sergey Vergunovs. They guide the learning process and help me stay on the right track.
Working with my father, he instilled in me an interest in design.
Sergey Vergunov:
Usually with my daughter. She's a designer, too.
Maria Kolesnikova:
As a student, I work on my projects together with my instructors, Natalia and Sergey Vergunovs. They guide the learning process and help me stay on the right track.
Nataliia Vergunova, Sergey Vergunov:
T-furniture initiative project. About telling - it's not easy. You have to show it. Unfortunately, we have abandoned it - there is not enough time.
Maria Kolesnikova:
Right now, I’m working on a project for the company KUBIS. It’s a large and detailed task that sums up everything I’ve learned over four years of university studies.
T-furniture initiative project. About telling - it's not easy. You have to show it. Unfortunately, we have abandoned it - there is not enough time.
Maria Kolesnikova:
Right now, I’m working on a project for the company KUBIS. It’s a large and detailed task that sums up everything I’ve learned over four years of university studies.
Nataliia Vergunova:
n.vergunova@gmail.com
Sergey Vergunov:
s.vergunov@gmail.com
Maria Kolesnikova:
kolesnikova710mariya@gmail.com
n.vergunova@gmail.com
Sergey Vergunov:
s.vergunov@gmail.com
Maria Kolesnikova:
kolesnikova710mariya@gmail.com
Nataliia Vergunova:
Whether through teaching or creating, I see design as a continuous dialogue between humans, materials, and meaning. I’m grateful to contribute to that dialogue and excited to see how the next generation of designers will expand it even further.
Sergey Vergunov:
It's hard to say. There could be a lot of them. About terminology in design, for example. About the methodology of design education. About the greed of some developers of computer programs for design. About the “scientism” in design in our territories. And so on and so forth.
Maria Kolesnikova:
I believe the questions covered the key aspects of my work and design journey. I don't have anything to add at this moment.
Whether through teaching or creating, I see design as a continuous dialogue between humans, materials, and meaning. I’m grateful to contribute to that dialogue and excited to see how the next generation of designers will expand it even further.
Sergey Vergunov:
It's hard to say. There could be a lot of them. About terminology in design, for example. About the methodology of design education. About the greed of some developers of computer programs for design. About the “scientism” in design in our territories. And so on and so forth.
Maria Kolesnikova:
I believe the questions covered the key aspects of my work and design journey. I don't have anything to add at this moment.
Grand Interview
22 October 2025 · Lumenica Lighting Collection
The design philosophy behind the parametrically twisted glass volumes in the Lumenica luminaire evolved through a process that combined both rigorous research and hands-on experimentation. Initially, the idea stemmed from a curiosity about how organic growth patterns in nature, particularly the spirals seen in shells, plants, and even fluid dynamics, could be interpreted and reimagined through contemporary digital tools. This curiosity led to a series of parametric studies using SolidWorks, where various mathematical models of spiral growth and phyllotaxis were explored to achieve visually compelling geometries that also made sense structurally for glass production.As the process advanced, it became clear that not all mathematically beautiful forms translated effectively into glass; material constraints and optical behavior played a crucial role. Extensive prototyping was conducted, with 3D-printed models, to observe how light interacted with the surfaces, particularly with variations in relief depth, surface smoothness, and curvature. This hands-on stage inspired several refinements to the original digital models, as subtle adjustments in relief pattern and twist could dramatically affect how light diffused, refracted, and reflected within the glass.An important realization was that the design’s dynamism depended not only on the overall silhouette but on the micro-interactions between matte and glossy surfaces and the user’s movement around the object. This insight shifted the focus toward achieving a fine balance between technological precision and artistic intuition, leveraging the power of parametric modeling for repeatable accuracy, while allowing room for expressive, organic imperfections that make each luminaire unique.Ultimately, the design philosophy evolved into an approach that treats light as an active participant in the composition, not just an outcome. By carefully orchestrating how light passes through, grazes, and scatters within the twisted volume, the Lumenica luminaire blurs the boundary between functional lighting and sculptural art. This approach continues to influence ongoing explorations, including experiments with colored glass, interactive lighting elements, and multi-piece modular compositions that expand on the original concept.
The biomorphic qualities of the Lumenica luminaire were intentionally informed by an in-depth observation of natural forms such as flowers, mushrooms, and jellyfish, each offering distinct structural and aesthetic principles that influenced key design decisions. For example, the spiraling growth seen in certain flowers and the layered gills of mushrooms provided a blueprint for the parametric relief that defines the surface of the glass body. These elements inspired the creation of flowing lines and gradients in the relief, which not only reference nature’s geometry but also optimize the diffusion and scattering of light through the glass.Jellyfish, with their translucent bodies and dynamic movement in water, played a significant role in shaping the overall silhouette and sense of visual lightness. Their semi-transparent tissues, gentle pulsations, and the way they capture and refract light informed the choice of clear glass as the primary material, as well as the treatment of surface finishes. The decision to combine matte and glossy areas within a single form was directly influenced by the way natural organisms present different textures on their surfaces, which create subtle shifts in reflectivity and optical depth.Additionally, the natural flexibility and resilience found in these organic forms prompted an exploration of production techniques that could replicate such qualities. 3D printing was used for prototyping to mimic the intricacy and fluidity of natural shapes, before finalizing the glass version. These influences extended beyond mere aesthetics, informing the technical approach to both form development and material selection, and ensuring that the finished luminaire embodied both the elegance and complexity found in living systems.
The development of the dynamic relief patterns in the Lumenica luminaire was driven by an extensive experimentation process focused primarily on 3D printing technologies, rather than traditional glass processing. Since the prototype was realized using additive manufacturing, this opened unique possibilities for creating complex, twisting geometries and intricate surface textures that would be challenging to achieve with glass alone.Through iterative digital modeling, various relief depths and twist angles were explored, leveraging the precision and flexibility offered by parametric design software. This allowed for the detailed simulation and adjustment of how light would interact with the object’s surface: casting gradients, shadows, and subtle reflections that bring the design to life. 3D printing made it possible to prototype and physically test these forms rapidly, offering immediate feedback on the tactile and optical qualities of the relief patterns.Unlike glass, which has specific constraints in molding and cooling, 3D printing enabled the realization of sharp transitions and intricate details, resulting in a more expressive and dynamic surface. The ability to directly control the print resolution and layering also contributed to achieving the nuanced textures that are central to the Lumenica aesthetic. This process not only expanded the creative vocabulary of the project but also demonstrated how digital fabrication methods can push the boundaries of what is possible in contemporary lighting design, blending innovation in material processing with artistic experimentation.
Achieving harmony between symmetry and organic flow in the Lumenica luminaire was a deliberate and iterative process that began with the study of natural structures exhibiting both order and fluidity, such as spiraled shells or the petal arrangements of certain flowers. In the digital modeling stage, parametric tools were used to generate symmetrical base forms that provided structural stability and aesthetic coherence. These symmetrical frameworks served as the “skeleton” of the object, ensuring a balanced distribution of mass and supporting even illumination when light was introduced.From this foundation, controlled organic deformations were introduced to the surface using variable relief patterns and subtle twisting. These deformations were carefully calibrated so as not to compromise the fixture’s primary function: effective and pleasant light distribution. Iterative prototyping through 3D printing allowed for direct testing of each design variation, making it possible to observe how the surface interacted with both ambient and direct light sources. Special attention was given to the orientation and depth of relief patterns, which were adjusted to diffuse light gently across the form while creating visually engaging gradients and shadows.Functional requirements, such as accessibility for the light source, heat management, and the object’s weight, were integrated into the design from the outset. Material thickness and structural reinforcements were fine-tuned in the digital model to ensure durability and practicality, while still preserving the sense of movement and softness inspired by organic forms. The result is a luminaire that, while rooted in mathematical symmetry, feels dynamic and alive, delivering both functional performance and artistic expression within a single object.
The inspiration for contrasting matte and glossy areas in the Lumenica luminaire arose from a close study of natural surfaces, such as the petals of flowers, the skin of fruits, and the bodies of aquatic organisms, which often display subtle variations in texture that dramatically affect how light interacts with them. This observation sparked the idea of intentionally alternating surface finishes on the luminaire, using the precision of digital modeling and 3D printing to implement these transitions with control and nuance.By integrating both matte and glossy finishes into a single form, the design achieves a multifaceted visual experience that changes with the movement of the observer and the surrounding light conditions. Glossy areas capture and reflect highlights, lending the object a sense of vibrancy and depth, while matte surfaces soften these effects, creating smooth gradients and enhancing the perception of the luminaire’s sculptural relief. This interplay mimics the subtle complexity found in nature, making the object appear more organic and inviting.From a user experience perspective, the contrast between finishes adds layers of tactile and visual richness. When interacting with the luminaire, whether by touch or sight, users encounter an ever-changing composition of reflections and shadows. This not only elevates the luminaire from a simple functional object to a centerpiece within the interior but also encourages viewers to move around and engage with it from multiple perspectives. Ultimately, the surface treatment enhances both the aesthetic and emotional resonance of the design, deepening its presence in the space.
One of the most complex technological challenges encountered during the development of the Lumenica luminaire was adapting the intricate, parametric geometry of the design for successful 3D printing. The initial digital models were inspired by the ambition to replicate the subtle fluidity and transparency of glass, but additive manufacturing posed its own unique constraints, particularly regarding support structures, surface finish, and the translation of digital detail into physical reality.A key obstacle was achieving crisp, dynamic relief patterns and maintaining the integrity of the twisting form without compromising the print’s structural stability or surface quality. Early prototypes revealed issues such as unintended texture artifacts, weak points at sharp transitions, and difficulties in post-processing to achieve the desired matte and glossy effects. Overcoming these obstacles required revising the digital model to optimize wall thickness, modify internal supports, and carefully calibrate print orientation and layer height for each iteration.Experimentation with different printing materials and post-processing techniques, such as selective polishing and sandblasting, played a vital role in differentiating matte and glossy regions on the same object. This not only resolved technical limitations but also enhanced the expressive potential of the luminaire, reinforcing its biomorphic character and visual complexity. Ultimately, overcoming these 3D printing challenges directly influenced the final design by pushing it toward a more refined, tactile, and visually engaging result than originally envisioned.
The color scheme of the Lumenica luminaire was carefully curated to reinforce its biomorphic inspiration while also ensuring the piece harmonizes with contemporary interior environments. Drawing from the natural world, the selected palette reflects the subtle translucency and gradients found in organic forms like sea creatures, petals, and shells. Soft, neutral shades and translucent finishes evoke a sense of delicacy and lightness, similar to the membranes of jellyfish or the inner layers of certain flowers, emphasizing the object’s connection to nature without resorting to literal imitation.At the same time, the choice of understated colors and semi-transparent materials allows the luminaire to serve as a versatile accent in modern interiors, complementing a wide range of color schemes and design styles. This approach avoids visual clutter, enabling the object’s form and surface relief to take center stage. For environments seeking a bold statement, the design can be realized in deeper, saturated hues that still maintain a reference to natural pigments, such as deep blues reminiscent of ocean life or soft greens found in foliage, without overwhelming the space.The restrained use of color also accentuates the interplay between matte and glossy surface areas, allowing gradients, shadows, and reflections to shift in response to both artificial and natural light sources. This dynamic quality heightens the organic feel of the piece and invites ongoing interaction from users, as the appearance subtly changes throughout the day. In essence, the color scheme acts as a bridge between the luminaire’s biomorphic origins and its modern, adaptable presence in contemporary interiors, ensuring it feels both innovative and intimately connected to the rhythms of nature.
Sustainability and environmental considerations played a significant role in shaping both the material selection and the manufacturing process for the Lumenica luminaire, particularly since the project utilized 3D printing rather than traditional glassworking. From the outset, one of the guiding principles was to minimize waste and reduce the environmental footprint associated with prototyping and production. This was achieved by selecting 3D printing materials that are either recyclable or derived from bio-based sources, such as PLA (polylactic acid), which is made from renewable resources like corn starch and is industrially compostable.The additive manufacturing approach itself supports a more sustainable workflow compared to subtractive methods, as it allows for precise material usage with little to no excess waste. The ability to rapidly prototype and iterate designs in-house also reduces the need for energy-intensive transportation or outsourcing, further decreasing the project’s overall carbon footprint. During the design phase, digital simulation tools were used to optimize the object’s geometry, ensuring structural stability while minimizing material consumption.Another important aspect was the potential for local, on-demand production, which aligns with sustainable design philosophies by reducing the need for mass manufacturing, large inventories, or long-distance shipping. Even post-processing steps, such as sanding and polishing, were carefully managed to use minimal chemicals and resources.Ultimately, the use of 3D printing not only enabled the exploration of complex, biomorphic forms but also allowed for a more responsible approach to material use and production. This aligns the Lumenica luminaire with contemporary expectations for eco-conscious design, demonstrating that innovative aesthetics and environmental responsibility can be successfully integrated within the same project.
Establishing a cohesive design language across the diverse Lumenica Lighting Collection: spanning table lamps, wall sconces, floor lamps, and pendant fixtures, required a deliberate balance of consistency and adaptability. The central unifying element is the use of parametrically twisted, biomorphic forms that define each piece’s silhouette and surface relief. This approach was inspired by natural growth patterns and ensures that all objects, regardless of function, share a recognizable visual DNA.To adapt this core aesthetic to varying functional requirements, careful attention was paid to proportion, scale, and technical integration for each lamp type. For instance, the table lamps incorporate sculptural legs or bases that echo the twisted motifs of the main body, providing both visual unity and physical stability. Wall sconces and pendant lamps utilize mounting solutions that are harmonized with the overall curvature and flow of the design, ensuring the structural elements do not detract from the organic impression.Moreover, a unified color palette and the use of contrasting matte and glossy surface treatments further reinforce the collection’s coherence. While each piece is tailored to its specific context, whether illuminating a workspace or creating ambient mood lighting, the underlying design principles ensure they can be displayed together as a family or stand alone as individual statements, all while resonating with the same biomorphic and contemporary aesthetic. This holistic yet flexible approach not only supports visual harmony across the series but also extends the versatility and expressive potential of the Lumenica concept.
We envision that our approach, merging craft tradition with experimental, digitally driven materials and methods, can serve as a model for the next generation of lighting design, one that honors heritage while embracing the possibilities offered by emerging technologies. By utilizing 3D printing to reinterpret sculptural techniques once reserved for glass or ceramic, we demonstrate that classic craft sensibilities can be preserved, even as new forms and surface treatments become possible through digital fabrication.Our process underscores the importance of adaptability and sustainability in design. By using materials that are recyclable or biodegradable, and leveraging on-demand, local production through additive manufacturing, we hope to encourage the industry to move beyond conventional, resource-intensive manufacturing practices. This method not only reduces waste and energy use but also empowers designers to iterate more freely and customize designs to fit diverse spaces and user needs.At the same time, we believe that maintaining a human, artistic touch in the digital workflow is vital. The nuanced surface reliefs and biomorphic geometries in the Lumenica Collection are rooted in the observational rigor and creative intuition traditionally associated with handcraft. By translating these qualities through parametric modeling and experimental prototyping, we invite a broader conversation about the evolving relationship between craft, materiality, and technology.Ultimately, our vision is for lighting design to become more interdisciplinary, sustainable, and user-centric, blurring the boundaries between art and technology, nature and manufacture. We hope Lumenica inspires designers and manufacturers alike to see digital tools not as a replacement for craft, but as a bridge to new creative frontiers, where the richness of tradition and the excitement of innovation can coexist and mutually enrich each other.
