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Interviews with Dreamstudio by Dina Dymova
Designer profileDesigner of the Day Interview
18 May 2026
I started my career as an architect but quickly realized that the architectural process is too slow and makes you feel like a small cog in a huge machine. I wanted to see my designs come to life faster so I transitioned into interior design. Seeking more bravery and larger scale I focused on public spaces and successfully completed 10 major restaurant interiors. In every restaurant I created my own exclusive furniture. This was so exciting and fulfilling that I decided to co found a furniture factory from absolute scratch with my close friend. We started with zero production knowledge and literally studied the internal furniture construction from the inside out. I personally designed our production space using efficient Japanese manufacturing systems. Over the last 10 years we grew this project into the best furniture factory in Kazakhstan. Today all the most demanding and prominent interior designers in the country choose only us for their projects
My path to becoming a designer was shaped from early childhood. When I was just 6 years old my father recognized my creative drive and took me to an art studio because I was too young for a formal art school. That early studio environment prepared me perfectly and I later successfully entered and graduated from art school. It was always clear to me that my future belonged to creation. Thanks to my strong artistic background and high quality skills I won a full scholarship for free education at the Architecture Institute and graduated as a professional architect. This deep internal drive to build beautifully combined with a powerful artistic foundation from childhood is what naturally led me to become the creator I am today.
My design methodology centers on three non negotiable priorities harmony of proportions fabric curation and internal structural longevity. First I focus heavily on exact proportions because the same sofa can look completely different if built without a harmonious blueprint. In fact I revolutionized the industry in Kazakhstan by establishing the standard that furniture must be built strictly according to precise technical drawings whereas previously most local workshops manufactured items simply by looking at a picture. Second I analyze the interaction of textiles focusing on how warm and cold tones combine tactfully and visually ensuring the fabrics do not weigh down the product. Finally our core factory motto is that a client should return to us for new furniture not to repair the old one. Following this rule we focus on building lightweight ergonomic and indestructible internal frames that are perfectly symmetrical and visually beautiful even on the inside because I firmly believe that true beauty lives in the hidden details
For me the most powerful and beautiful emotion is the pure joy of seeing the finished product perfectly placed inside the client's real interior. While the initial sketch and the engineering process on the factory floor are highly engaging nothing compares to that final moment. Seeing how our furniture transforms a space and brings the client's home to life is the most exciting and breathtaking experience. This exact moment acts as a spark that ignites my creative energy all over again filling me with a fresh passion to look forward discover new ideas and keep creating.
Many people note that I carry a pleasant energy that makes them feel comfortable energized and ready to follow my lead. Alongside this charisma my main secret to success is an incredibly high work capacity. My core rule is that it is always better to do 10 additional tasks today that were planned for tomorrow. I truly believe that life is too short and we must aim to build something truly global because tomorrow might never come. That is why we must maximize our efforts and achieve our goals here and now with maximum speed
My future path is focused on leaving a lasting mark and my name in the global history of design. My ultimate dream project is to create an iconic piece of furniture that becomes a timeless world classic. To achieve this I want to build powerful creative collaborations with the famous Italian factories that I always admire at international exhibitions. I am deeply inspired by their rich heritage and legendary sofas and beds. My goal is to combine our technical manufacturing bravery with Italian design traditions to create something truly global and historic
I want to warn new designers that if they do not work at 110 percent right now they should not expect any growth tomorrow. At the beginning of your journey the Pareto principle always applies and it might often feel like your hard work is completely unnoticed by anyone. But you must keep pushing and continuing to create even if it is just for yourself. You have to understand that whatever you do your labor is never wasted because first and foremost it expands and elevates your own mind and creative intelligence.
My top professional advice for anyone who wants to successfully enter furniture design is to immediately get a job at a real manufacturing factory. Start in any department and over time work your way through every single operational process. You must learn all the steps from scratch including the frame building workshop upholstery department sewing room packaging and quality control check. Only by experiencing all these steps from the inside will you truly understand how materials behave and how real furniture is engineered. Do not just be an artist who draws pictures learn the physical production physics from the factory floor
My days are incredibly dynamic because my business is my life and my creation. I start my business morning by managing the creative direction of our social media and checking our visual positioning. My day is a fast transition between high level management and raw factory floor engineering. I meet with clients to listen to their needs and discuss custom orders with my interior designer friends. Then I drive to our 2500 square meter factory floor. On the factory floor I act as a hands on crisis manager. A craftsman from absolutely any department or shop can approach me with a complex technical issue and I solve it right on the spot making bold creative choices about frame structure puzzles or upholstery sewing details. This immediate problem solving is what excites me most during the workday.
monitor global design trends closely and I have a very strong natural intuition for them. Because of this I fill our upholstered furniture showroom with pieces that will become major trends for the next year or two. In fact I feel that I frequently move ahead of the trends. While I would love to focus entirely on creating my own highly unique artistic vision and collective art objects the reality of the local market in Kazakhstan forces me to find a balance. The market here is quite small and there is a limited number of clients who can appreciate and purchase pure conceptual art objects. Therefore my strategy is to sense what is coming next on the global stage and adapt those forward thinking trends into functional luxury furniture that fits the commercial scale of our region perfectly
For me a good design is defined by its power over human memory and its visual magnetism. It is a space or a product where your eyes constantly want to return to look just one more time. I believe a project is truly well designed when you can close your eyes and still clearly remember that interior. It is an environment where you wake up the next morning and the image of what you saw is still perfectly alive in your mind because it truly touched your soul. A good design is completely timeless. It does not follow temporary trends it creates trends on its own and it is built to live for many years remaining beautifully relevant and powerful across generations.
This is an incredibly difficult question for me because the longer I work on a design the more I feel its imperfection. As a creator you always have an internal urge to refine alter and polish every single detail over and over again. Because of this continuous battle with perfectionism I had to invent a strict formula for myself I must learn to stop at the right moment. I decide a design is ready when the core physical harmony and engineering stability are achieved. I consciously open another tab in my mind to move forward to the next project because I understand that while a design can be infinitely improved in theory a true professional must have the discipline to freeze the concept and bring it to life in reality
The works I am most proud of are two breakthrough furniture concepts that reflect my deep love for storytelling and structural engineering. The first is our famous Princess and the Pea premium bed. I wanted to turn a classic childhood fairy tale into a high end physical reality. We engineered a massive frame that layers multiple custom mattresses and luxurious upholstery fabrics to create a sense of absolute height and royal comfort, hiding a symbolic metal bead inside the structure as a signature detail. The second is our new signature sofa concept, which I firmly believe has all the qualities to become a timeless design icon. It features brave, organic fluid lines that wrap around the human body, combining rich tactile materials like premium corduroy and bouclé. The engineering challenge was immense because we had to create a seemingly weightless, artistic silhouette without losing structural symmetry and ergonomic support. Both pieces represent my philosophy of turning fragile creative concepts into historical manufactured masterpieces
My design philosophy is deeply rooted in the heritage of legendary modernist architects and functionalist pioneers. My absolute favorites are Ludwig Mies van der Rohe and Frank Lloyd Wright because they understood the flawless relationship between architecture and organic space. I am also deeply inspired by Le Corbusier and the entire Bauhaus movement which proved that honest engineering and clean lines create the ultimate aesthetic value. When it comes to product design I highly admire Charles and Ray Eames. Their iconic chairs and innovative furniture pieces are the perfect example of how an architectural mindset can revolutionize industrial manufacturing. All these visionaries proved that furniture is not just decoration but an extension of structural space
I am based in Almaty Kazakhstan a magnificent city surrounded by grand mountains and vast open steppes. My lifestyle is deeply connected to this unique natural geography and it heavily influences my creative vision. Right now I am working on a major dream project close to my heart I am designing a premium furniture collection completely dedicated to our Kazakh mountains and steppes. I want to translate the raw organic power of the mountains and the endless freedom of the steppes into furniture forms using authentic natural textures and a specific color palette of sand straw sage and pale sky blue. I firmly believe that good design is necessary for the advancement of society because when we bring the honest energetic purity of nature into our homes through high quality objects we elevate our daily psychology and lifestyle
Our business philosophy is built on absolute technical bravery and a strict commitment to product longevity. At the factory our core corporate motto is that a client should return to us for new furniture not to repair the old one. Following this rule we manufacture every single frame with an intentional margin of safety and extreme structural strength. In terms of work culture I have a perfect operational system with my close friend and co founder. She masterfully handles all the financial administrative and staff management which leaves me completely free to focus on technology design and global vision. On the factory floor I act as a hands on crisis manager. I look for craftsmen who respect the physical nature of materials and share our passion because our main challenge is turning complex creative architecture into indestructible furniture masterpieces
We focus our philanthropic efforts on supporting children with special developmental needs. Using the manufacturing power of our furniture factory we help equip sports and rehabilitation halls for these children free of charge. We manufacture specialized safety mats and custom soft play structures upholstered in durable leather designed specifically for their physical therapy and development. Additionally we provide financial support to help families cover the educational costs for special needs children who require specialized schooling. For us it is about using our real factory resources and craftsmanship to directly improve the lives and safety of these children
For me this experience is proof that a person from distant Kazakhstan can win this global competition if they are willing to work hard. Winning this award shows that absolutely anything is possible when you find the perfect balance between creativity and pure labor. When my partner and I started with zero experience cutting a bed in half with a chainsaw it was a massive leap of faith. This recognition proves that our industrial bravery was right and that a factory built from scratch in Kazakhstan can reach the highest international standards. Being considered for the Designer of the Day promotion is an incredible honor that highlights our brand Dreamstudio to a global audience proving that real dedication always creates historic results.
Design Interview
19 May 2026 · Macaron Nido Letto per Bambini Macaron Nido Co
The main idea behind the design is to create a psychologically safe and nurturing environment for a child that helps them transition smoothly to independent sleep in their own room. The primary visual inspiration for the rounded bionic silhouette was the delicate form of the French macaron pastry and the protective concept of a bird nest which is reflected in the name Nido. Our core design principle dictates that high-end aesthetics must be structurally connected to functionality, which is why the anatomical shape of the headboard and sides is engineered to prevent the pillow and blanket from falling to the floor during the night
Our absolute focus was to achieve a perfect natural balance between complex technical engineering and deep psychological comfort for the child. I wanted to create a striking visual wow-effect through a sophisticated Quiet Luxury aesthetic while strictly maintaining children's ergonomics and safety. The goal was to build an organic micro-architecture that feels like a cozy sanctuary, allowing the child to feel completely protected and helping them transition to their own bedroom without any emotional stress.
Our future plans are to scale the production of the Macaron Nido bed at our 2500 square meter factory in Almaty and expand its presence in high end residential projects across Central Asia and the global market. We also intend to introduce new conceptual iterations of this model using natural steppe colors such as sand and straw textures to showcase how international luxury design can beautifully harmonize with our local cultural heritag
The development of the Macaron Nido bed from the initial CAD blueprints to the final prototype took about two months of intense manufacturing and engineering work. Thanks to my architectural background, the coordinate grid and structural frame proportions were calculated quickly, but we spent several weeks on the factory floor testing how materials like polyurethane foam and premium fabrics behave around the complex bionic curves to achieve absolute symmetry.
This design was born out of personal inspiration and my own experience as a parent observing my child's sleep patterns. I noticed that every morning the pillow and blanket would end up on the floor and the child felt unsettled in a standard bed. As a design maniac and architect I decided to solve this real family problem by creating an unconventional protective micro-architecture that turned into the Macaron Nido concept
Currently we produce this piece ourselves at our 2500 square meter Dream Studio factory in Almaty to ensure the highest standards of execution. However we are ambitious about global scaling and are completely open to exploring production partnerships or selling the manufacturing rights to a well known European furniture brand that shares our passion for premium quality and architectural precision
My specialization in product design and my architectural background naturally drew me to children's furniture because it is an area that deeply requires both structural safety and emotional comfort. I realized that the market was lacking children's beds that successfully combine a playful spirit with high end Quiet Luxury aesthetics. I wanted to design a bed that acts as a nurturing micro-architecture, transforming the bedroom into a supportive space where the next generation can grow and form their personality.
If I were to joke about external influences, I would say the true culprits were the exquisite and delicious shapes of French macarons covered in glossy glaze that I enjoyed during my trip to Paris. On a serious note, there were no other designers or furniture brands that influenced this project. The Macaron Nido bed is an entirely independent concept born from my architectural background and personal parenting experience, developed completely from scratch on our factory floor.
The target customers are modern, design-conscious parents, top-tier interior designers, and property developers who refuse to compromise between safety and aesthetics. They appreciate high-end Quiet Luxury, value non-synthetic, practical, and dust-resistant textiles, and look for furniture with architectural integrity. These are clients who understand that a child's environment shapes their personality, and they seek to invest in pieces that offer deep somatic comfort and psychological well-being
Unlike ordinary kids beds, this design features fully curved, bionic upholstered sides that seamlessly wrap around the sleeping area to engineered precision, completely preventing the pillow or blanket from falling to the floor. Furthermore, we turn the selection process into a delightful game of co-creation where the child acts as a chef, choosing their own color recipe. For example, a child can mix a "pink cream with white vanilla filling" or combine a "creamy almond biscuit with strawberry filling" textures, allowing them to build an emotional connection to their bed from day one
The name is a literal reflection of the visual and emotional essence of the project. The first part, Macaron, is a playful nod to the bionic rounded shapes of the famous French dessert that inspired the bed silhouette. The second part, Nido, translates from Italian as a nest, which perfectly describes our primary goal to create a protective, warm, and comforting sanctuary that hugs the child from all sides and ensures psychological peace during their sleep.
The primary digital tool I used was ArchiCAD to establish the initial architectural proportions and spatial logic. After that the technical design department at our factory developed the constructive blueprints for the framework. The final and most critical tool was live manual sculpting on the factory floor where we shaped the bionic curves literally with our bare hands experimenting with tailoring and upholstery to find the perfect visual balance and deliver that ultimate look.
The most unique aspect of the design is its delicious culinary character and the incredible cloud like airiness achieved through manual tailoring experiments. We managed to create a piece of children's furniture that doesn't look like a standard product but feels like a soft sculpted piece of art. The uniqueness lies in how we balance strict architectural calculations with a tactile voluptuous form that allows kids to play with color combinations as if they were picking ingredients for a gourmet pastry.
The realization of this project was a close collaboration within our team at the Dream Studio factory. I worked hand in hand with our internal technical design department to engineer the complex framework and internal stiffeners that handle the load perfectly. I also collaborated deeply with our master craftsmen and production tailors on the factory floor who used their specialized technical skills to shape the bionic curves and test how different fabric tensions affect the softness and volume of the bed
Technology plays a foundational role in ensuring the durability and perfect symmetry of the organic shapes. We started by calculating the geometry in ArchiCAD and then translated the structural blueprints into the digital language of our industrial CNC milling machinery to cut the internal framework. This precise technological grid serves as a flawless base for the subsequent manual processes allowing us to combine advanced industrial manufacturing with fine artisan upholstery.
The research behind this project focused on children psychology, ergonomics, and material safety. We analyzed how organic, rounded shapes positively affect a child’s emotional state, reducing anxiety and creating a sense of a protective boundary. On the technical side, our design department conducted research into the behavior of smart materials under physical loads, selecting high-quality polyurethane foam, Periotek, and dust-resistant textiles that maintain their volumetric form and prevent allergen accumulation.
The main challenge was translating the playful, fluffy aesthetic of a French pastry into a structurally rigid and durable piece of furniture. It was technically difficult to combine the inner stiffeners and solid framework with an exterior that looks incredibly soft, airy, and cloud-like. We spent a lot of time on the factory floor experimenting with our bare hands, adjusting the upholstery tension and foam density to ensure that the fully curved sides remained safe, comfortable, and perfectly symmetrical.
Our factory Dream Studio operates with the ambitious goal of elevating the furniture industry of Kazakhstan to a high international level. When the Macaron Nido bed was completed and immediately loved by our clients we realized that this product possesses a unique global design language. We decided to submit it to A' Design Award in Italy to test our architectural approach against world standards and to proudly demonstrate that high-end competitive product design is actively developing in Kazakhstan.
This project deeply enhanced my ability to merge rigid architectural structures with organic textile volume. I learned how to translate poetic culinary shapes into precise technical parameters like internal stiffeners and coordinate grid blueprints while preserving a soft fluffy texture. It improved our entire factory team's skills in high-precision framework engineering and manual upholstery, proving that the closest connection between the designer's vision and the production floor is what creates true furniture art.
I would like to emphasize that our goal at Dream Studio is to manufacture furniture for all Kazakhstanis that matches the premium quality of top European brands, while standing out through our own authentic ideas and designs. We want to carry the status of being from Kazakhstan with immense pride on the global stage. Premium furniture design is pure psychological healing through beauty, and we will continue to use our technical bravery to build beds and sofas that provide families with a deep feeling of emotional safety and comfort at home.
Design Legend Interview
7 June 2026
My creative journey was predestined from the very beginning when I graduated from art school. Following my passion, I earned a state scholarship to study architecture at the institute. Working as a professional architect, however, made me realize that I was merely a tiny cog in a massive, rigid engineering machine, and I couldn't see the immediate impact of my vision. Seeking more creative freedom, I shifted to interior design. I wanted more boldness than private residences allowed, which led me to design 10 complex restaurant interiors, even winning a prestigious award for one of them. For every single restaurant project, I designed all the furniture myself based on my own custom sketches. That is how I fell deeply in love with object design—especially upholstered furniture, which offers a rich world of fabrics, textures, and visual combinations. This unique path became the perfect foundation for developing my own premium manufacturing facility
My ultimate motivation is the magical transition of a freehand creative sketch into a physically flawless, tactile object that shapes a person's lifestyle. I became a designer because I am captivated by the emotional power of materials. Combining raw structural frames with the richness of premium textiles, distinct textures, and sophisticated color combinations allows me to breathe life into spaces. For me, design is not just a profession; it is an organic way of thinking and a continuous drive to deliver uncompromised physical comfort and artistic beauty to the real world
Becoming a designer was entirely my own conscious and independent choice, deeply rooted in my childhood passion for art. No external forces pushed me into this field; instead, it was an internal necessity to break away from rigid, predictable architectural systems and create something deeply personal. I wanted to build products where my own creative vision could be entirely fulfilled without industrial compromises. Choosing this path allowed me to bridge the gap between fine art and manufacturing, proving that a designer can successfully establish their own rules of quality and premium comfort.
Currently, I am designing forward-looking furniture pieces that will be highly relevant in the next one to two years for our showroom in Almaty. I process every new design through my personal vision, strictly evaluating its production feasibility and long-term structural durability. Every object I create carries a distinct piece of my soul and artistic identity. Looking ahead, my ultimate ambition is to design iconic, timeless signature furniture itemssuch as sofas, beds, and armchairs that transcend passing trends and remain valued for generations.
To build a meaningful legacy, young designers must transition from merely looking at beautiful digital pictures to mastering the physical reality of production. You must study the physics of materials, understand internal structural mechanics, and learn how to create flawless technical drawings. Never sacrifice the internal hidden quality of a product for a quick financial gain or an easy layout. Be bold enough to experiment with complex textile combinations, keep total control over your manufacturing quality, and remember that true design authority is built on honest labor and uncompromised standards
A good designer creates products that are visually pleasing and functional on the surface. A great designer goes much deeper by mastering the entire technical life cycle of the object. Great designers possess an absolute understanding of production limits, structural integrity, and the physical behavior of materials like textiles and metal. They do not just draw an attractive layout. They deeply understand how that object will be built, how it will wear over time, and how it will provide flawless ergonomic comfort. A great designer bridges the gap between pure fine art and strict industrial manufacturing without making compromises on quality.
I evaluate design based on three foundational criteria which are structural longevity, tactile harmony, and proportion. A design becomes truly exceptional when it looks as immaculate on the inside as it does on the outside. When I analyze a product, I look past the trend and examine the symmetry of its internal frame, the tension of the fabrics, and how well the scale fits the human body. If an object balances brave creativity with permanent, high-quality durability, then it is a successful piece of art.
The true value of good design lies in its ability to eliminate daily friction and elevate human psychology through ultimate comfort. Investing in good design is an investment in long term durability and emotional well being. When a person buys a cheap or poorly constructed object they are forced to pay twice because it quickly loses its form and comfort. High quality design ensures that the internal ergonomics and external fabrics work together seamlessly for many years. It transforms a basic living space into a sanctuary of peace and sophisticated beauty which is something everyone deserves to experience in their daily life
If I had unlimited free time I would design unique collectible art objects produced in only one or two exclusive editions. I would implement them at the factory spontaneously in the moment, deciding their final forms and visual appearance directly on the production floor, working just like a painter with a brush. I would focus entirely on creating these highly exclusive signature art objects so that world class interior designers could source them as rare, statement masterpieces for their most elite projects
My dream project is a large scale public space transportation hub that reflects authentic natural geography. Specifically I want to fully realize a comprehensive concept for the international airport arrival and departure zones inspired by the organic shapes and raw textures of the Charyn Canyon in Kazakhstan. This project involves creating custom modular furniture clusters with integrated smart power connectivity, fluid layout lines that guide passenger psychology, and specialized lighting installations. It is a dream to show how commercial architecture and premium object design can capture the historical storytelling of a beautiful natural landscape.
My secret recipe of success is the absolute control over the production lifecycle combined with an unyielding standard for internal product strength. Many designers only focus on what is visible on the outside. My secret ingredient is that true beauty lives in the hidden technical details. I ensure that every custom piece of upholstered furniture leaves the factory with a perfectly symmetrical, lightweight, and indestructible internal frame. When you combine bold creative styling with honest structural longevity and elite fabric curation, you build a brand that clients trust permanently.
I find my deepest design inspiration in the legendary masters of the Bauhaus movement and iconic architects like Ludwig Mies van der Rohe and Frank Lloyd Wright. I also highly admire the work of Charles and Ray Eames. As someone with an architectural background, I study how these legends managed to transfer complex architectural logic, structural functionalism, and pure geometries into iconic furniture pieces. They proved that a great chair or lounge chair is essentially a piece of miniature architecture. Learning from their philosophy helps me combine strong technical frameworks with clean aesthetic shapes at my own production facility
My design philosophy is deeply rooted in the heritage of legendary modernist architects and functionalist pioneers. My absolute favorites are Ludwig Mies van der Rohe and Frank Lloyd Wright because they understood the flawless relationship between architecture and organic space. I am also deeply inspired by Le Corbusier and the entire Bauhaus movement which proved that honest engineering and clean lines create the ultimate aesthetic value. When it comes to product design I highly admire Charles and Ray Eames. Their iconic chairs and innovative furniture pieces are the perfect example of how an architectural mindset can revolutionize industrial manufacturing. All these visionaries proved that furniture is not just decoration but an extension of structural space
Honestly I do not believe I have created my single greatest design yet. I treat my current achievements including the award winning Macaron Nido bed as vital milestones and stepping stones. Right now my co-founder and I are on a clear path toward something truly grand and large scale. My upcoming furniture architecture collections which fuse strict functionalism with cultural heritage will be the ones to define my legacy and show the true power of our engineering hub.
To become a better designer one must develop severe technical bravery and deeply master the physics of furniture manufacturing. Personally I transformed myself from an architect into a crisis developer on our production floor who understands exactly how materials behave under physical loads. I also operate as a design maniac who continuously analyzes millions of global interior spaces to feed my mind with fresh structural ideas and maintain absolute aesthetic clarity
If I had not become a furniture and product designer I would have definitely chosen the path of a graphic designer specializing exclusively in textile design for luxury furniture. My lifelong passion for textures and manufacturing would have driven me to create unique fabrics, custom weaves, and patterns. Even in that alternative career I would still be completely dedicated to the furniture world, finding ways to elevate tactile experiences and bring psychological comfort to living spaces through textile art
For me design is pure psychological healing through beauty and a true feast for the eyes. It is a highly technical discipline disguised as pure aesthetics, aimed at elevating the human experience. Space acts as the exact environment where personality is shaped and where a human being grows. When it comes to furniture design I see it as a direct contribution to family history, providing absolute comfort and sensory harmony that empowers a person to create and work better
My biggest supporter and trusted business partner is my close friend and co-founder of Dream Studio. We built our 2500 square meter factory completely from scratch, driven by a shared vision to elevate our country's industry. While my partner takes full responsibility for the strict administrative, financial, and personnel management, I am completely free to operate as the creative lead and focus entirely on engineering, design, and the future of our collections
My architectural education and the intense daily habit of analyzing millions of global interior concepts built the foundation of my success. Operating as a design maniac who studies international spaces allowed me to develop absolute aesthetic clarity. Additionally my willingness to step directly onto the factory floor and solve technical production issues alongside our craftsmen gave me the real technical bravery needed to transform bold creative ideas into flawless luxury furniture.
The biggest obstacle at the beginning was that my co-founder and I started our premium factory with zero initial knowledge of furniture manufacturing technology. We had to learn the physics of materials and the behavior of internal structures completely from scratch. Another major challenge was breaking old consumer stereotypes regarding domestic production in our region, proving through our flawless execution that local manufacturing can easily match or surpass top European standards
Designers should present their work as a seamless synthesis of conceptual architecture and meticulous execution rather than just beautiful digital renderings. A successful presentation must reveal the technological framework, the honesty of materials, and the structural logic behind the object. At Dream Studio we believe in absolute physical and tactile presentation, which is why all our innovative models are constantly exhibited at our permanent brand showroom in Almaty where professionals can experience the real somatic response and scale
Our upcoming project is a landmark furniture collection inspired by the raw and powerful natural heritage of Kazakhstan, introducing soft organic shapes upholstered in non-pilling sand and pale blue sky textures. Furthermore we are actively expanding our architectural expertise into large scale public infrastructure, developing a comprehensive renovation concept for the Almaty airport departure and arrival zones that features themed furniture layouts and natural materials to maximize passenger psychological comfort.
My ultimate goal is to elevate the furniture industry of Kazakhstan to a prominent international level and completely change the consumer stereotype about domestic production. I want to build a lasting legacy through human-centric furniture architecture that acts as pure psychological healing for families. My ambition is to see our bold engineered furniture collections integrated into the most beautiful and jaw-dropping interiors around the globe, proudly carrying the status of being designed and manufactured in Kazakhstan.
English version:
People and fellow interior designers expect absolute technical bravery, uncompromising quality, and the ability to turn the most unconventional, complex visual ideas into tangible reality. They look to me as an expert technology partner who understands the structural physics of production and can guide them through the entire manufacturing cycle. They expect furniture that does not just fill a spatial void but provides a rich spectrum of sensory feelings, flawless ergonomics, and deep somatic comfort.
People and fellow interior designers expect absolute technical bravery, uncompromising quality, and the ability to turn the most unconventional, complex visual ideas into tangible reality. They look to me as an expert technology partner who understands the structural physics of production and can guide them through the entire manufacturing cycle. They expect furniture that does not just fill a spatial void but provides a rich spectrum of sensory feelings, flawless ergonomics, and deep somatic comfort.
Design helps create a better society by directly shaping the environments where human personalities are formed and where new generations grow. By replacing mass market standardized products with human centric furniture architecture that provides absolute sensory harmony we actively reduce daily stress and cultivate psychological well being. When a home or office space is engineered to offer deep somatic comfort and beauty it empowers people to work better create more and raise healthier happier families
I am incredibly excited about our upcoming ambitious collection inspired by the raw beauty of our natural heritage, which combines high engineering with traditional cultural elements. We are translating soft organic shapes into high precision CAD frameworks and experimenting with non-pilling textures in sand, straw, and pale blue sky palettes. Simultaneously I am thrilled about our architectural concept for the Alaryn airport zones, where we are creating customized themed furniture layouts using terracotta leather to provide ultimate psychological comfort for travelers.
The projects that give me the most satisfaction are always our complex custom beds and structural sofas manufactured completely from scratch at our 2500 square meter facility. Specifically completing the award winning Macaron Nido bed brought immense fulfillment because it proved we can balance strict engineering with a playful luxury aesthetic. Seeing a raw natural wooden frame transform step by step into a refined voluptuous object that finds its place in a jaw dropping interior and becomes a part of a family history delivers an immediate powerful dopamine boost
I want to see a world where design completely loses its borders allowing different cultures and national styles to mix freely inside our homes to create a global integration of beauty and reliability. As the pandemic proved being surrounded by a beautiful and engineered environment makes hard global crises much easier to endure psychologically. When I look at Italian people I notice how elegantly they dress and how aesthetic everything is around them because they were literally raised on beauty from birth. I want more people globally to consult interior designers and invest in authentic custom furniture from various countries because when beauty rules the world we educate a whole new generation of children who will simply refuse to live in ugly interiors
The design field is heading toward a beautiful synthesis of advanced digital engineering and deep human emotional resonance, which we often define as tactile biophilia and Quiet Luxury. Designers will increasingly use programs like ArchiCAD and industrial technologies to calculate perfect ergonomics, but the final product must evoke a strong somatic response. The future belongs to furniture that looks like sculptural art, feels like a warm protective sanctuary, and adapts to the strict environmental standards of the modern world.
The timeline always varies but if a project is truly fascinating and exciting it takes a minimal amount of time. The biggest and most significant time investment goes into the technical blueprints and engineering development. Once that framework is ready the process moves directly to the factory floor where we build it and evaluate how it looks in reality making instant corrections. When multiple production departments are fully involved and passionate about the concept the work literally boils with energy and everything happens incredibly fast resulting in an average of one to two months from the initial spark to the finished luxury object.
Every new project starts with an intense volumetric vision and a clear understanding of the functional problem we need to solve for the client. I immediately open ArchiCAD to capture the initial proportions, establish the strict geometric parameters, and align the object with the laws of modernist architecture. Once the spatial logic is set I hand over the concept to the technical department of our Dream Studio soft furniture factory where we begin calculating the internal framework and stiffeners to ensure that the bold artistic silhouette can be successfully manufactured in physical reality.
My life motto as a designer is absolute technical bravery and pure psychological healing through structural beauty. I deeply believe that furniture is not just temporary spatial decoration but a direct and powerful extension of architectural space that shapes human emotion and well being. At our Dream Studio soft furniture factory we never accept compromise between functional engineering honesty and high end aesthetic luxury, always pushing the boundaries of what local manufacturing can achieve on the global stage.
True architectural design always sets the trends while superficial commercial trends merely follow the market. Legendary pioneers like the Bauhaus movement or Mies van der Rohe never followed ephemeral fashion because they engineered timeless structures based on functional honesty and spatial logic. At our factory Dream Studio we take the exact same brave position where we do not copy seasonal shifts but create entirely independent concepts like the Macaron Nido bed which establish new standards of premium children furniture architecture and sensory comfort.
Technology serves as the flawless skeletal foundation that allows complex bionic concepts to safely exist in physical reality. We use digital technology to calculate precise geometric proportions and internal stiffeners ensuring that our furniture survives intensive family life for generations. However technology is never an automated replacement for human artistry, acting instead as a high precision digital framework that enables our factory team to successfully shape the final voluptuous details literally with their bare hands
Our production workflow bridges advanced digital planning with heavy industrial manufacturing tools. On the software side I start every conceptual layout in ArchiCAD to maintain strict architectural proportions and calculate the overall spatial volume. On the hardware side the production floor of our Dream Studio soft furniture factory is equipped with high precision industrial CNC milling machinery which cuts the internal framework and stiffeners with coordinate grid accuracy ensuring a flawless base for subsequent manual upholstery
Color materials and ambient are the primary instruments for creating pure psychological healing and a true feast for the eyes. In our premium collections we prioritize non-synthetic textiles that possess high anti-pilling and dust-resistant properties ensuring safety and long-lasting tactical pleasure. The clever combination of volumetric soft forms and delicate natural shades like vanilla cream or warm almond establishes a comforting emotional sanctuary that elevates the entire atmospheric well-being of a home.
I wish people would ask about the deep philosophy of human care that inspired this creation and how many passionate specialists were involved in manufacturing just a single bed. Many of us remember how in our childhood we lay in bed falling asleep and staring at the beautiful patterns on our wallpaper, absorbing aesthetic details. I designed this bed to nurture that childhood sense of beauty. I want people to discover the collective technological journey at our Dream Studio soft furniture factory where a whole team of technical engineers, CNC operators, master tailors, and craftsmen work together, putting their heart into every single curve to create an environment that shapes a child's taste for life.
When I encounter a truly great piece of design I immediately begin to analyze its structural logic and think about the people who created it. I try to reverse engineer the object in my mind wondering what production tools were used and how the engineering team solved the complex constructive challenges. It brings me immense professional joy to see absolute architectural honesty in product design, and it inspires me to bring even more technical bravery into the collections at our Dream Studio soft furniture factory
I deeply believe in co-design when it represents a perfect synergy of diverse professional strengths. My ideal design partner is my close friend and co-founder of our Dream Studio soft furniture factory, who takes full responsibility for the administrative and financial management, allowing me complete creative freedom. I also view our technical design department and factory craftsmen as essential co-designers, because the final bionic perfection of our furniture architecture is achieved only through our collective passion on the production floor
The legendary modernist architects and functionalist pioneers I studied during my professional education had the most profound conceptual influence on my work. Visionaries like Ludwig Mies van der Rohe, Frank Lloyd Wright, and Le Corbusier taught me the absolute value of honest engineering and clean lines. In my daily manufacturing practice the craftsmen and tailors on the production floor of our Dream Studio soft furniture factory influence me deeply, because our intense technical dialogues help me translate abstract architectural shapes into physical furniture perfection.
The books and historical manifestos covering the history of the Bauhaus movement and the structural philosophy of functionalism had the greatest effect on my mindset. Publications detailing the work of Charles and Ray Eames deeply shaped my understanding of industrial product manufacturing. These texts proved to me that furniture is not just superficial room decoration but a direct and powerful extension of structural space, which requires strict engineering grid calculation before it can deliver emotional comfor
Developing my skills was a rigorous journey of blending higher architectural education with deep daily industrial practice. I spent thousands of hours analyzing millions of international interior spaces to build an unshakeable sense of global trends and aesthetic clarity. The true leap in my mastery occurred when I stepped directly onto the production floor of our Dream Studio soft furniture factory transforming from a theoretical planner into a hands on creator who works alongside craftsmen to solve complex engineering and structural layout challenges.
If I could collapse time and space I would absolutely want to meet Le Corbusier and immerse myself in his creative laboratory. I would love to look him in the eyes and ask what exactly pushed him to use that genius combination of natural pony hide and industrial stainless steel in his iconic LC4 chaise longue instead of say green dyed leather. For me this dialogue is essential because it captures the exact mystery of how a strict technological framework can seamlessly merge with raw authentic nature. I would want to discuss how we continue this mindset at our Dream Studio soft furniture factory using modern engineering to find that exact same flawless balance between structural metal and pure tactile honesty.
Receiving high international recognition like the A' Design Award in Italy brings immense professional gratitude but it does not change my daily focus. For my co-founder and me fame is not a personal goal but a powerful tool to elevate the furniture industry of Kazakhstan on the global stage. It is not hard to be recognized when your mind is entirely occupied with new design ideas, because the real reward is always seeing our intense factory teamwork result in furniture that brings beauty and psychological safety into people's homes.
My favorite colors are pale sky blue and the deep earthy tones of my native Kazakh steppe mixed with delicate wild lavender and white steppe flowers. The places that inspire me most are New York, a city that completely expands my consciousness whenever I return to it in my thoughts, and Italy for its incomparable cultural history. My favorite food includes the entire rich spectrum of Italian cuisine. My favorite season is spring when the emerging greenery is extraordinarily bright and instantly elevates my default mood. My favorite thing is my mobile phone which keeps me constantly connected to our intense manufacturing workflow. My absolute benchmark furniture brands are Minotti, Turri, Maxalto, and Porada.
A funny and unforgettable experience happened on the production floor of our Dream Studio soft furniture factory when we were finalizing the Macaron Nido bed. We were so intensely focused on achieving that ultimate culinary look that our design department and master craftsmen started talking exclusively in bakery terms. For days we weren't discussing technical blueprints or frame dimensions, we were actively shouting across the factory floor about how to add more fluffiness to the biscuit or asking if the vanilla foam filling was perfectly even. Anyone walking into our heavy industrial facility would have thought we were running a giant premium pastry shop instead of a modern furniture plant
What makes my day great is seeing the seamless transition from a digital layout to a physical object on our 2500 square meter factory floor. I motivate myself by working as a true design maniac, continuously exploring global interior concepts and challenging our technical team with unconventional shapes. The ultimate driving force is the moment when a complex engineering framework with internal stiffeners comes together perfectly and our master tailors finish the upholstery, turning a technical challenge into a beautiful piece of furniture art that brings pure psychological healing and comfort to real people.
My absolute favorite style is Quiet Luxury and functional minimalism deeply rooted in the traditions of the Bauhaus movement. When it comes to materials I prioritize high quality authentic textures that combine absolute engineering reliability with rich tactile pleasure. At our Dream Studio soft furniture factory we love working with premium non-synthetic fabrics in natural earthy tones like warm sand, almond, and delicate sky blue. These materials allow us to craft furniture that looks like architectural art while acting as an emotional sanctuary that brings deep psychological comfort into living spaces
A master designer is someone who possesses severe technical bravery and can seamlessly fuse strict architectural engineering with high aesthetic luxury. Anyone can become a design master if they have the discipline to develop absolute aesthetic clarity through the continuous analysis of global spaces and the courage to step directly onto the manufacturing floor. True mastery belongs to those who do not just follow seasonal fashion trends but treat furniture design as a serious discipline aimed at improving society and educating the next generation through the culture of everyday beauty.
My final message to the world is to stop accepting compromised, temporary environments and start treating your home as a direct extension of structural space that shapes your life and well-being. Surround yourself and your children with authentic beauty and honest engineering because the environments we choose directly affect our psychological healing and resilience. Let design lose its borders so that different global aesthetics can enrich our homes, because when beauty rules the world we raise a brand new generation of people who naturally understand harmony and create a better future.
Designer Interview
7 June 2026
My journey began in architecture, but I quickly realized that being a tiny cog in a massive machine contributing a fraction to a single building over years of prolonged construction was not for me. I wanted a dynamic, visible impact and the immediate joy of seeing people experience my work. This led me to interior design, where my search for greater scale, creative boldness, and artistic freedom directed me toward public spaces, offices, and hospitality venues, successfully executing the interiors of 10 major restaurants. In these commercial projects, I began custom-drawing and inventing every single piece of furniture myself to perfectly fit my design visions. This process of raw invention naturally birthed the idea of establishing my own premium furniture factory in Kazakhstan. Ultimately, this evolved into a deep specialization in product and industrial design, as it allows me to innovate frequently and see my creations come to life at a faster, more fulfilling pace.
I am the co-founder, along with my close friend, and creative lead of Dreamstudio, a premium furniture production factory and design showroom based in Almaty, Kazakhstan. Dreamstudio was born from our shared vision to completely elevate the country's furniture industry to a new international level. We are unique because we are the only factory in the region bold enough to take on the most complex, unconventional ideas of interior designers. We function as a specialized engineering hub that translates avant-garde design concepts into the precise language of constructive blueprints and technological frames. Our studio serves as a bridge between bold aesthetic concepts and meticulous manufacturing, allowing us to cater to exclusive residential properties as well as demanding, large-scale commercial contracts in the HoReCa sector across Central Asia.
For me, design is pure psychological healing through beauty and a true feast for the eyes. Different periods of our lives demand different interiors because space acts as the exact environment where personality is shaped and where a human being grows. It leaves a lasting mark on our souls, and eventually, this entire atmosphere is gifted to future generations. When it comes to furniture design, I see it as a direct contribution to history—not just global history, but the personal history of every single family and every loved one. By providing absolute comfort and sensory harmony, a piece of furniture empowers a person to create more, to work better, and to raise and nurture the next generation in a supportive environment. It is a highly technical discipline disguised as pure aesthetics, aimed at elevating the human experience.
I am deeply passionate about designing bespoke beds and sofas because I see them as the emotional anchors of a home. A bed is truly the Queen of the bedroom. When a person walks into the room, they should immediately feel its dominant, welcoming presence. I always aim for that "wow effect" that makes someone instantly feel joyful, cozy, protected, and filled with a desire to rest in that exact space. Sofas hold an equally special place in my heart because a sofa is a sacred place for family embraces and a backdrop for watching children grow. Knowing that generations of a family live, connect, and create their history on the sofas we manufacture is deeply fulfilling. My architectural background allows me to give these emotionally rich pieces a strong, flawless structural form.
One of my most cherished and significant achievements is the "Macaron Nido" children's bed. This piece perfectly embodies my design philosophy by merging playful, organic forms with high-end, sophisticated execution. The concept focuses on creating a protective, nesting environment for children, treating a piece of furniture as a nurturing micro-architecture. It relies on flawless geometric precision, seamlessly integrating a safe, curved silhouette with exceptional tactile comfort, proving that children's design can comfortably sit within the realm of luxury and refined taste.
The foundational milestone for my brand was designing an extraordinary custom bed inspired by the classic fairy tale "The Princess and the Pea." The concept was based on the story's test of true royalty, where a single pea was placed under twenty-five mattresses. I engineered a spectacular bed designed to look exactly like a rich stack of multiple separate mattresses, where each layer featured its own distinct fabric, texture, and tailored execution. Some layers were beautifully quilted, some came in contrasting vibrant colors, and one specific layer was intricately covered in pearl beads. This was our first iconic, signature piece. It required complex structural engineering to ensure that this multi-layered visual illusion maintained flawless ergonomic support and durability. This project proved that we could translate the most imaginative, poetic visions into highly technical and luxurious reality, setting the ultimate benchmark for Dreamstudio’s craftsmanship.
My work relies on a sophisticated curation of tactile and high-tech internal materials. When it comes to structures, I thoroughly enjoy working with advanced polyurethane foams that can be precisely shaped and molded to follow complex organic forms. For the ultimate comfort layers, my absolute favorites are premium, airy materials like Periotek and Halcon. I love combining these advanced structural layers with exceptionally tactile, non-synthetic, and soft fabrics. It is vital to me that the textiles are highly practical, do not attract dust, and are completely resistant to pilling.
I experience my highest creative clarity and a powerful dopamine boost when I am directly on the factory floor, watching raw, natural wooden structures transform step-by-step into refined creations. I am a true design maniac—to recharge from the intense daily communication my job demands, I spend my rest hours reviewing millions of international interiors. This fuels my inspiration and drives our factory's bold philosophy: making the designer's thoughts fully tangible. We engineer our pieces so that when a person sits on a Dreamstudio sofa, bed, or chair, they experience a rich spectrum of emotions and precise somatic responses—from tactile tactile pleasure to deep proprioception (the comforting awareness of one's own body within the space). Above all, I feel immense pride when our bold engineered pieces are integrated into the jaw-dropping interiors of the region's top designers.
I focus heavily on the technological framework and the somatic response of the human body. For me design is not just a visual surface it is an engineering science. Together with my co founder we ensure that the internal structure handles complex geometries perfectly. I pay absolute attention to how different layers like Periotek and Halcon interact with molded polyurethane foam to create an flawless ergonomic experience
When I design I feel the intense focus of a true design maniac. My mind continuously processes millions of international interior spaces and structural concepts that I study daily. It is a state of deep creative immersion where I feel an urgent ambition to push boundaries and build things that average furniture factories in our region are afraid to even attempt
The moment a design is physicalized on our factory floor I experience an immediate and powerful dopamine boost. Seeing raw natural wooden structures transform into refined luxurious forms covered in premium fabrics brings immense joy. I also feel a deep sense of pride when our bold engineered furniture pieces find their place in the jaw dropping interiors of top tier designers
A design is successful when it achieves a perfect natural balance between complex technical engineering and deep psychological comfort. It must act as pure healing through beauty and provide the user with a rich spectrum of sensory feelings including deep proprioception. If a piece of furniture perfectly supports a person allowing them to work raise children and create memories then it is a true success
I look at the structural integrity and the honesty of the materials first. I analyze how the piece handles physical space and whether its proportions feel architecturally correct. I immediately test the tactile quality of the upholstery checking if the fabrics are practical non synthetic and free from pilling. A good design must show flawless execution both inside the technological frame and on the outer fabric layer
My co founder and I believe that furniture design is a direct contribution to human history and family life. A designer is responsible for creating environments where personalities are shaped and healthy generations can grow. Environmentally we must be strictly responsible by selecting durable non synthetic textures high quality wool and smart materials that prevent dust accumulation and extend the lifestyle of the product
The design field is moving away from cold minimalism toward deeper sensory experiences and emotional connection. The future of design belongs to objects that act as micro architecture within the home providing psychological warmth and safety. Furniture will become more technologically complex on the inside using materials like Halcon and Periotek while remaining pure organic and natural on the outside
I do not focus on traditional gallery exhibitions. Instead all the new innovative furniture models that I invent are constantly exhibited at our permanent premium brand showroom located in the center of Almaty. We regularly host top interior designers there to showcase our latest creations and these pieces are frequently acquired for high end projects. In the near future my co founder and I plan to organize a large scale dedicated launch event to officially present our upcoming conceptual furniture collections
My design inspiration comes from a deep combination of architectural research and natural observations. I feed my creativity by operating as a design maniac who analyzes millions of international interior spaces during my hours of rest. This continuous habit fills my mind with sophisticated structural ideas and fresh aesthetic visions which I then bring to our production facility to turn into tangible reality
I describe my style as an authentic fusion of architectural Quiet Luxury and Natural Balance. My approach is defined by absolute geometric and structural honesty. I explore this style because I believe spaces must provide deep psychological healing through beauty. The main characteristics of my work are clean sophisticated organic silhouettes flawless hidden engineering frames and the mandatory use of exceptional practical non pilling textures
I live and create in Almaty Kazakhstan. I deeply love our incredibly green city and the rich natural heritage of our country strongly affects my projects. I actively use natural steppe colors including sand straw pale blue sky and ochre in my palettes. Furthermore I am currently planning the release of a landmark furniture collection featuring modern interpretations of Kazakh national ornaments. The main advantage of working here is the freedom to build a completely unique premium brand that elevates our local industry while the main challenge is changing old consumer stereotypes about domestic production
My co founder and I work with design practices and corporate clients as expert technology partners. We position our factory as a specialized engineering hub that welcomes complex custom ideas. We guide other companies through the entire manufacturing cycle explaining the behavior of inner elements like Periotek and Halcon while delivering flawless coordinate grid precision on every contract
I suggest companies look for designers who possess real technical bravery and understand the structural physics of furniture production. A good designer is not just a decorator but someone who thinks about child ergonomics body awareness and structural durability. Select partners who are brave enough to build unconventional shapes and who respect the propritioception and somatic comfort of the end user
My design process seamlessly connects digital blueprinting with live artisan creation on the factory floor. It begins with high precision CAD development where my architectural background helps me establish perfect proportions and technological frames. Then the process transitions to our master craftsmen where we test materials select textiles and build physical prototypes. I constantly generate new design details and refine mechanisms during this dynamic manufacturing phase
аt home I value objects that carry emotional warmth family history and perfect visual harmony. My absolute favorites are custom upholstered items that showcase exceptional textile tailoring and feel soft and non synthetic to the touch. I prefer pieces that provide perfect physical grounding and deep comfort acting as anchors of psychological safety and cozy sanctuary for my loved ones across different periods of life
My business is my life and my passion. My typical day is very active. First I meet with my clients to listen to what they want and help them solve their worries about their homes. I also spend a lot of time with other interior designers because we are close friends and I want to know what furniture they need for their projects. I travel to places like Belgium and Shanghai to choose and buy beautiful high quality fabrics. Then I go to our 2500 square meter factory. There I can answer absolutely any question from our workers. I can go to the frame shop and solve a technical problem on the spot or help the sewing team with fabrics and upholstery. My biggest strength is that I can make quick creative choices right in the factory and change the history of furniture making in our country
My most critical advice for up and coming designers is to fiercely believe in the Pareto principle. You must understand that eighty percent of your initial efforts might feel completely wasted or unseen but they are actually silently building the foundation that will push you in the exact right direction you desire. Never let early failures stop you. Follow your soul protect your unique inspiration and remain dedicated to mastering the technical craft because perseverance transforms a dreamer into a true industry visionary
The greatest positive is the immediate dopamine boost and intense pride you feel when a raw natural structure transforms on the factory floor into a luxurious heritage sofa or bed that will serve families for generations. The main negative is the creative exhaustion that comes from dealing with a massive number of people daily which is why I must protect my energy by operating as a design maniac who studies international interiors to recharge
My golden rule is to achieve an absolute Natural Balance where complex technical framework engineering meets flawless psychological comfort. A product must never compromise on structural durability or ergonomics for the sake of empty aesthetics. Every detail from the coordinate grid blueprint to the selection of non pilling fabric must serve the propritioception and somatic well being of the user
A designer must possess severe technical bravery and the ability to act as a crisis developer on the production floor. Visual drawing is not enough you must understand the language of frame builders draftspersons and textile tailors. True technical skill lies in knowing how materials like Periotek Halcon and molded foams behave under physical loads and having the vocabulary to translate abstract poetic concepts into tangible touchable forms
My toolbox bridges advanced digital technology with live factory craftsmanship. It contains high precision CAD platforms for coordinate grid engineering and strict structural blueprinting. On the physical side it includes our specialized factory machinery for molding shapes and a curated selection of premium dust resistant non synthetic textiles. Finally my most essential tool is my daily digital habit of analyzing millions of global interior concepts for pure creative fuel.
Time management for me is about strategic delegation and intense forward thinking. Because my co founder takes full responsibility for the administrative financial and personnel management I am completely free to focus on the future of our collections. I do not waste time trying to fit into current design trends instead I spend my energy researching global markets selecting international exhibitions and spotting what will be relevant in the next season. By splitting the workflow this way I can divide my week between visiting our factory floor to solve technical issues and managing our high end brand image without facing creative burnout
While grand architecture or the 10 major restaurant interiors I completed required years of development furniture engineering at our factory moves at a much more dynamic pace. Developing a complex premium piece from the initial CAD blueprint through prototyping material selection and final textile tailoring takes anywhere from a few weeks to a couple of months depending on the geometric complexity of the technological framework
People and fellow designers frequently ask me how a seemingly fragile woman can successfully manage an entire premium manufacturing factory know every single internal technological process and simultaneously balance family life with industrial leadership. My answer always surprises them because I explain how our factory operates on a highly organized co ownership system where my partner handles the strict administrative and financial framework while I drive the vision and technology. My work is not a separate duty it is my life and passion so managing it feels like a natural evolution rather than a struggle.
My most important and transformative job experience was transitioning from architecture to executing 10 major restaurant interiors and then building a premium furniture manufacturing factory completely from scratch. My co founder and I started with zero initial knowledge of internal furniture technology but we were driven by a pure need to create. Together we built a 2500 square meter facility that is now recognized as the cleanest most eco friendly and energetically pure factory in Kazakhstan. We educated and trained an entire generation of local craftsmen. Today I host exclusive educational tours at our facility for interior designers showing them the exact physics of production and teaching them why they must respect technical nuances when planning upholstered furniture. Turning a raw creative passion into a highly successful industrial enterprise is my ultimate proudest achievement.
Our clients are elite private customers property developers and the top tier interior designers in Kazakhstan and Central Asia. We function as a trusted partner for great design studios who need a brave factory that can take their complicated custom ideas and turn them into real luxury furniture for beautiful homes and restaurants.
I deeply enjoy product design specifically making custom beds and complex sofas. I love beds because a premium bed is the Queen of the bedroom and gives a person a warm feeling of safety. I love designing sofas because a sofa is a sacred place for family hugs and a place where you watch your children grow up. Making furniture that becomes a part of family history is very beautiful.
Our biggest plan is to lift the furniture industry of Kazakhstan to a high international level. My co founder and I want to launch new conceptual collections with beautiful national ornaments and natural steppe colors like sand straw and blue sky. We will keep growing our 2500 square meter factory floor in Almaty and make sure our bold furniture sits in the best interiors around the world
I develop all the main design concepts technical frames and CAD blueprints myself using my background in architecture. But building these unique shapes is a real team effort. I share the big vision with my close friend and co founder who manages the business side while I work directly on the factory floor with our master craftsmen seamstresses and engineers to perfect every piece
We are currently working on a very ambitious collection inspired by the raw beauty of our nature. It will feature soft organic shapes practical non pilling textiles and a color scheme with sand straw and pale blue sky textures. This collection will show how our factory can combine high engineering with traditional cultural heritage
Designers clients and partners can easily visit us at our permanent premium brand showroom in the center of Almaty Kazakhstan. People can also follow our professional work portfolio and factory production stories on our corporate social media platforms where I personally share my view of the design world
I want to say that premium furniture design is pure psychological healing through beauty. Space is the environment where a person grows and forms their personality before passing this heritage to the next generation. At Dreamstudio we use our technical bravery to build beds and sofas that give families a deep feeling of comfort and emotional safety at home.
Grand Interview
14 June 2026 · Macaron Nido Letto per Bambini Macaron Nido Co
The philosophy of emotional ergonomics was born from a desire to bridge the cold rigid discipline of architectural structuralism with the delicate fluid needs of a growing child. As an architect I have always viewed space as a vessel for human experience; however when I began observing my own daughter’s sleep patterns I realized that for a child a bed is not merely a piece of furniture it is their first independent territory a physical boundary between the known world of a parent’s protection and the vast often intimidating space of autonomy.I envisioned a form that would act as a structural extension of a parent’s embrace removing the sharp anxieties associated with hard edged conventional beds. In practice when a child lies inside the Macaron Nido Co Kids Bed for the first time the emotional ergonomics manifest as an immediate sense of containment. The bionic curved geometry mimics the safety of a nest lowering the child's sensory threshold and creating an environment where the subconscious mind can shift from an alert state to one of profound rest. It is not just about the physical comfort of the mattress but the psychological comfort of being held by the object itself. The child feels a seamless transition from the intimacy of a cuddle to the safety of their own sleep space turning a potentially stressful milestone into a comforting organic experience. This is where architecture stops being about walls and floors and starts becoming a fundamental tool for emotional security and healthy childhood development.
The transition from co sleeping to an independent bedroom is often perceived as a separation but I approach it as an evolution of intimacy. The Macaron Nido Co Kids Bed serves as a bridge in this process by involving the child as a creative partner. When a child participates in selecting the color palette or the specific tactile fabrics for their new bed they are not just choosing furniture they are claiming ownership of their new environment. This process of co creation transforms a stressful milestone into a collaborative project that builds excitement and a sense of pride. By allowing the child to touch and choose materials like eco leather or soft textiles we empower them to shape their own sanctuary.I have witnessed families transform this potentially tearful transition into a celebration of independence. Parents have shared stories with me about how their children suddenly stop asking to sleep in the parental bedroom because the Macaron Nido Co Kids Bed feels like a custom made extension of the bond they share. The bed becomes a place where the child feels invited rather than banished. Families often tell me that the tactile connection to the materials helps the child feel comforted during the night much like a familiar soft toy. This project proves that when we treat a child as an equal in the design process we reduce their resistance to change. We replace the anxiety of separation with the anticipation of sleeping in a space that they helped design themselves.
The design of the Macaron Nido Co Kids Bed relies heavily on the principle of bionic containment. In architectural terms, we moved away from the Euclidean geometry of right angles which often subconsciously signal rigidity or danger to a young child. Instead, we adopted a curvilinear structural logic that reflects nature’s own defense mechanisms. The circular and rounded form serves a dual purpose. Ergonomically, it eliminates sharp corners that are common hazards in children’s furniture, allowing for a safer, more intuitive navigation of the bed. Psychologically, the continuous, unbroken silhouette creates a sensory boundary that mimics the feeling of being held, which is critical for reducing nighttime separation anxiety. By applying these bionic principles, the bed functions as a protective shell. We balanced the load-bearing requirements with high-resilience foam, ensuring that the sculptural aesthetic does not compromise the structural integrity needed for daily use. The result is a piece that provides a stable, grounding environment where the physical form actively contributes to the child’s sense of safety and calm, proving that beautiful, poetic shapes can be simultaneously rigorous, ergonomic tools for psychological well-being.
Receiving the Iron A' Design Award is a powerful affirmation that the industry is ready to shift from purely functional furniture to objects that possess emotional intelligence. Conventional children's furniture often treats the child as a passive user, focusing primarily on basic safety compliance and standardized dimensions. In contrast, the Macaron Nido Co Kids Bed distinguishes itself by elevating the emotional connection to a core design requirement. By integrating ergonomic safety with a form that actively comforts the child, we have created a product that serves as an extension of parental care rather than just a place to sleep. This recognition validates our belief that design should play an active role in childhood development. For the future trajectory of our studio, this award serves as both a benchmark and a catalyst. It reinforces our commitment to the intersection of architectural rigour and human-centric design. We plan to leverage this momentum to expand our "emotional ergonomics" research into broader product categories, ensuring that every object we produce remains a testament to the idea that design can significantly improve the quality of a child's psychological well-being and their overall growth environment.
The prototyping process for the Macaron Nido Co Kids Bed was an intensive exercise in reconciling soft visual aesthetics with rigid industrial manufacturing. Our primary technical challenge was achieving the signature "cream" silhouette while maintaining structural integrity. Initially, we struggled with the foam layering; the challenge was to create enough volume to mimic a soft confection without losing shape over time. We spent months perfecting the CNC-milled birch plywood core, which serves as the skeletal support. Once the structure was sound, the tailoring became the greatest hurdle. We had to develop a complex upholstery pattern that could account for the curvature of the frame without creating unsightly folds or tension lines. Our team experimented with various high-resilience foam densities to find the perfect balance between plush comfort and structural retention. Ultimately, we solved this by implementing a precise multi-layer upholstery technique that allows the fabric to drape naturally over the curves, replicating the "softness" of cream while remaining durable enough for the rigors of childhood activity. It was a process of constant iteration where we balanced engineering precision with the artistic need for organic, fluid lines.
The most counterintuitive insight we gathered was that a child’s resistance to independent sleeping is often not a fear of being alone, but a loss of the tactile connection to their primary caregiver. This finding was the catalyst that shifted the bed from a mere physical object to an interactive tool. We realized that if the object itself could facilitate decision making, it would reduce the child's anxiety of loss. Consequently, we altered the interactive logic of the Macaron Nido Co Kids Bed by incorporating customizable elements that require a joint dialogue between parent and child to activate. This forced collaboration in the design and setup phase creates a shared emotional investment in the bed before the child even spends their first night in it. By embedding this participatory logic into the physical form, we transformed the bed from a static piece of furniture into a dynamic relational space, proving that the psychology of a child is as important as the structural engineering of the object itself
My background in architecture combined with a decade of hands-on experience in furniture factories has fundamentally shaped my "production-ready" philosophy. For the Macaron Nido Co Kids Bed, I did not rely on trial and error on the factory floor; instead, the entire manufacturing process was meticulously conceptualized and engineered in my mind and through detailed technical drawings long before the first piece of wood was cut. Because I understood the capabilities of the machinery and the nature of the materials, the actual production run moved with seamless precision, effectively "going like clockwork."The only area requiring an iterative, artistic touch was the upholstery. We conducted multiple live fitting sessions, carefully testing different sewing techniques and fabric tensions to see how the material behaved. This was crucial because the fabric possesses specific physical properties that dictate how it drapes over the bionic curves. We had to visually evaluate how the "cream" effect looked from every angle to ensure it mimicked the organic softness I envisioned. This process was not a struggle with constraints, but a refined aesthetic calibration. By mastering the technical side through precise planning, I was able to dedicate our focus to the artisanal details, ensuring that the final product was not just industrially sound, but also possessed the soul and tactile perfection of a high-end design piece.
The genesis of the Macaron Nido Co Kids Bed is a synthesis of my global professional influences and my deep rooted local reality. Designing in Kazakhstan, where the design identity is vibrant and rapidly evolving, provides a unique perspective. I am not limited by a single design dogma, which allows me to fluidly combine the sophistication of French aesthetics with the practical, human centric approach of Montessori pedagogy. However, the emotional heart of this bed is distinctly Kazakh. In our culture, the family bond and the protective nature of parenthood are central pillars of our identity. While an international audience may see the rounded form as a nod to French confectionery, the underlying philosophy is one of "jylu," a Kazakh concept of warmth and sheltered care. I observed my daughter’s sleep patterns through the lens of a parent raised in a society that values deep connection and safety within the home. This cultural backdrop infuses the bed with an emotional gravity that is perhaps invisible to those who look only at the form. It is the architectural manifestation of a mother’s desire to create a secure, nurturing environment that transcends borders. By blending these global intellectual frameworks with our innate local value of protective warmth, I have created a piece that speaks a universal language of love, shaped by the distinct, grounding comfort of my Kazakh heritage
Inviting a child to be a co-author of their own sleep environment is a radical shift from the traditional consumerist model where children are merely passive recipients of adult choices. Through my observations, I have seen that this sense of creative ownership fosters a profound sense of agency. When a child is involved in the design process, they are not just selecting colors or fabrics; they are learning that their voice has tangible value and that they can shape their physical world. This early experience of agency becomes a foundation for self-expression in later developmental stages. Children who grow up with this sense of ownership often demonstrate higher levels of confidence and independence because they view themselves as active participants in their lives rather than subjects to their environment. My research suggests that this early empowerment helps children navigate transitions with greater resilience. For future works, I intend to deepen this co-creation model by integrating modular, "living" components into our furniture. I want to move toward a system where the object can evolve alongside the child, allowing them to continuously adapt their environment as their personality and needs shift. This approach ensures that the design is never a static finish line, but a dynamic, lifelong process of discovery and self-definition.
The single most misunderstood aspect of designing furniture for children’s psychological well-being is the pervasive assumption that "safety" and "durability" are the only metrics that matter. Most manufacturers and designers treat the child’s bedroom as a clinical space—a place to be contained and managed—rather than a psychological sanctuary. They focus on preventing physical harm, which is obviously necessary, but they often ignore the critical need for emotional security. The Macaron Nido Co Kids Bed reframes this by proving that an object can be both structurally rigorous and emotionally intelligent. We challenge the industry standard that views children’s furniture as a "scaled-down" version of adult objects. Instead, we treat the child’s environment as a distinct, specialized architectural ecosystem. By replacing the cold, sterile logic of standard furniture with a design language that prioritizes sensory comfort, bionic safety, and agency, we are forcing a shift in perspective. Parents are starting to realize that the bed is not just a place to sleep; it is a vital tool for emotional regulation. My work challenges designers to stop building "for" children and start designing "with" them, proving that when we address the psychological needs of the occupant, the physical product naturally becomes more human, more intuitive, and infinitely more successful.
