« The Creator - A Prism for Translating Human Desires » - Alexander Kharitonov
Walls... Floor... Sofa... What does the space around a person represent? Who is behind it? Who pays for it? And what role does the Designer/Architect play in this connection?
Countless texts highlight the importance of organizing space to create a comfortable, functional, and ergonomic environment that influences the consumer's emotions. However, this discussion is different. The romanticization of this field during education shifts the focus from the target result, which varies for everyone. A designer reflects the client's needs through their work on the project. The mirror is not only the product but also the process—the communication. The internal adaptive resource is crucial for a satisfactory result.
What issues does design solve? Design is about solving set tasks or problems, guided by the features of the space and the individual's needs. If design ignores the person as the target consumer, the person will not perceive this design.
A design project must be flexible, even at the proposal stage, for adaptation to external factors. Client and Designer form a target product from various elements, guiding the process. These relationships rely on the specialist's tact in programming and communication.
Interior design realizes the designer's ambitions through the Client's investment. Clients often control the project, creating tension. Each party plays a vital role, with the Client as Investor and the Designer needing empathy. The Designer must understand the Client's needs, desires, and values.
Adaptability is crucial for achieving tasks without compromising quality. The Designer bridges the Client and material realization, engaging sincerely with the product's meaning. Stability in design and implementation is key, with the Designer tactfully explaining their role and tools.
In short, the main task of providing a design project service is the realization of the Investor's, that is, the Client's ambitions. This, in turn, represents a close connection of many components, such as household/practical needs and aesthetic ones. But the main one, as practice shows, is the reasonable use of the budget. It is no secret that the financial issue often becomes a burdensome load for the Designer, as it does not always meet the personal needs of the "creator," limiting them in the same realization of their own creative ambitions. But it is in such situations that professionalism manifests itself when you seek and find solutions through successful combinations of various components.
A designer can subjectively designate any component or group of components as the "core" of the overall visual embodiment, whether it is the composition of certain materials, individual stylistic details, or a specific sofa. And here it is necessary to understand how unshakable this "core" is, how much it is the center-forming, without the gravitational force of which the concept will scatter into fragments. That is, the author independently distributes accents and fills various fragments of their work and the final product with meaning. Sometimes such a link becomes certain items that meet the internal needs of the Designer, that is, through the prism of the project, they transmit their desires and unrealized ideas.
Of course, it is impossible to deny the presence of fundamentally important elements for maintaining the overall visual concept, but these should be local. Priorities in the equipment of the developed project should be correctly set. For this, a rich visual experience, a broad outlook, and awareness of the pricing policy of the used brands are needed. All this transforms into the "basic equipment" of a specialist, which, in turn, is formed over time with the acquisition of experience and communication with related specialists/colleagues in one or another activity.
A living room with an accent sofa as the focal point exemplifies a conceptual interior design approach. This method uses objects, colors, and textures to direct attention, as seen in high-end items from EDRA or VLADIMIR KAGAN. Reconciling the Client's willingness to invest and the Designer's flexibility is crucial, especially when financial constraints arise. Effective communication helps align their interests, allowing the Designer to understand the Client's perspective and adapt ideas without undue pressure. Ultimately, design should solve problems, not create them.
As an additional example, we can consider the issue of kitchen set equipment. This example differs from the previous one, as the kitchen, in essence, is intended to solve household tasks, which prevail over aesthetic ones in most cases. The composition of storage areas, work areas, technical devices, etc. - this is a synthesis of the Designer's proposal with the actual (or projected) situation on the object and the individual needs of the Client. When choosing a specific factory, the assortment of certain details (handles, profiles, corner plugs, etc.) and finishing materials of a particular brand play an important role. A universal kitchen set can be assembled at most factories on the modern market, whether it is the German LEICHT or the Italian MODULNOVA and CESAR.
A kitchen is like a Lego set, its configuration depending on both volume and the client's investment in a private residential space. Drawer interiors, fittings, facade materials, and lighting offer many combinations to meet both aesthetic and utilitarian needs. The kitchen is a crucial visual element, often requiring complex features like metal or stone facades and transformable systems. This expands the choice of factories to include POLIFORM, ERNESTOMEDA, and VALCUCINE, among others, to integrate these advanced elements effectively.
Within this range, the BOFFI factory stands out. Such proposals require pre-approval due to significant financial investments. Selling an unfeasible "beautiful postcard" can disappoint clients and strain emotional connections. Reconfiguration should be an option, ensuring the visual concept remains intact while meeting financial constraints. Typically, kitchen supplier choices hinge on cost perception. A practical solution is to shift focus from the perimeter to the kitchen island. HENGE and EGGERSMANN offer examples of this approach, though their costs often exceed typical buyer expectations. Balancing aesthetics and budget is crucial for client satisfaction and successful design implementation.
If everyone understands the budget early on, a good proposal is a universal perimeter set with an author's carpentry kitchen island as the accent. Contract factories like TM ITALIA or KEYCUCINE can realize custom designs. This approach involves designing, decorating, and in-depth analytical work with the Client.
Design professionals should deeply understand the lifestyle of potential clients, not just theoretically. This means engaging with their world practically, without compromising personal needs. Experiencing luxury firsthand aids in offering relevant services. Visiting cultural places improves communication, behavior, and presentation, enhancing one's appeal beyond just providing a service.
A Designer or Architect is a specialist whose unique qualities and skills reflect the desires of others, not their own. Their role is to embody the consumer's aspirations, not fulfill personal creative ambitions. This field requires coexisting within the design process, accepting and processing criticism, and continually improving oneself.