Dmitry Pogorelov

I started to draw when I was five years old. After graduating from art school with honors , I entered to the College of Publishing and printing on specialty graphic design . I had not yet decided on the direction of the design. In college I was also involved in athletics and won prizes in the championships in Moscow. Above the Master of Sports in 18 years I did not get up, so I had to leave the big sport: I entered into the Moscow State Academy of Industrial and Applied Arts named after Stroganov on the specialty of transportation design. I chose this direction because of it covers a wide area of design. I wanted to design three-dimensional objects, and transport is the most complex industrial facility. It could hone their design skills. During training, I learned a creative thinking. Practically each of my work took place in any competitions. But we learned primarily from ourselves in the academy. Teachers only directed us. And those projects that teachers are not evaluated highly always took first places in competitions. During training, I studied the effect of non-forming factors on the model of design and developed my own approach to design. And the last period of my life which is associated with self-knowledge led me to a whole new round understanding of the design , which will be reflected in my work later.

I work in NCC Russia. “Nanotechnological Composite Center” (NCC) is a part of Holding Company “Composite”, which produces carbon fibers, prepregs as well as composite products. NCC is responsible for the design, manufacturing and commercialization of composite products. As for me, the opportunity and the concept of the production from the composite materials is environmentally responsible, and most suitable for my vision of the future world in which there are my design solution.

The design for me is reflected the zeitgeist: technologies, modern opportunities, science. Because of this I pursue analytical approach in the design. I also prefer technological and reasonable design without using of props. In today's world too much attention is paid to style, with content not paid much attention. In the process of designing embedded several spiritual approach, because this side is receiving less attention, leaving the world of technology. The combination of spiritual and technological approach gives results are unique design things. "If the technology is not exempt from the routine of the people so that they can pursue higher goals of humanity, then all technical progress is meaningless." Jacque Fresco. "In a decaying society, art, if it is truthful, must also reflect decay. And unless it wants to break faith with its social function, art must show the world as changeable. And help to change it." Ernst Fischer.

As it more complex as it is interesting for me. I think, that all things try to be integrated in each other in our time. And so, when I design something, I try to think, how it will be interact with environment.

As for me, the best design should tell everything about itself. It should be all-sufficient and intuitive clear. Daniel Simon design is very close to my ideal. If we see on vehicles in the film Oblivion, we can notice it. Sphere shape of modules is protection, the triangular shape of the space station is designed to capture sunlight and symbolizes the power of the alien invader, the rectangular shape of the house is associated with comfort. All forms tell as about themselves. Of course, this design is not perfect, but it tell us more, than things, that are only as a decorative. Form should follow function. Best design where it is less of all.

The older I get, the more I perceive myself and the deeper my knowledge. In the process of self-discovery I become freer and it means more creative. When there is no pressure from the outside, then I manifest myself best as a designer.

I adhere to the triad of Vitruvius, which reads: "Comfort, durability, beauty." And beauty is on the last place. The design should be holistic without unnecessary details, so I always ask myself: "Why am I doing this."

I am glad, that it is not my work. It is myself. I create myself in my works. I discover myself in my design.

This means that I appreciated. Now part of me will bring someone a favor and joy.

Firstly it is a concept that needs to find a deep reflection of a man who looks at a design object. Than the global concept, the more it will capture the audience. Second is the purity of the reflection of the conception. And third is the vision of the author, his life experience. How exactly he understood his conception and could reflect it in his work.

If the design is not clear for me, then I ask why it was done. If I am satisfied with the answer, then try to understand can it be done better, more concise ... If I was happy with everything and nothing disturbs, it's a good and sure design!

Designer must to clothe modern human needs in a shape of design products. Also in the task of the designer area is included direct of social and economic world in the direction that best satisfies absolutely all factors of human life and activity. While these factors should take fully into account the limited resources of Planet Earth I stick to resource based economy developed by Jacque Fresco and I think his approach to design the most appropriate. "If the technology is not exempt from the routine of the people so that they can pursue higher goals of humanity, then all technical progress is meaningless." Designer should reflect modern enabling technologies in their work and dictate the rules of such a policy in object space environment. Designer should also educate people's values and contribute to the transformation of the world. Therefore, the designer has a big responsibility . He must know the current problems and try to solve them using their abilities.

My inspiration comes from the logical nature of the design object . In the design I act like nature. Think like nature, according to evolution or mutation things, on how much you want to improve or invent something new. All depends on the tasks. For example, if I designed a human, then another leg would probably unnecessary , but if you improve the brain for more effective communication without words or render any data so it is possible. Most likely it would entail drawn size of skull, and behind it would change the structure of the body. Roughly the same principle I use in the design. When it is necessary, I change everything in root, so I show visible changes in the contents of the design.

My design is cold, thoughtful, logical and tech. But at the same time it meaningful and unobtrusive. Sometimes the coldest design has more internal sense than the beautifully designed product. Desire to give the product "beauty" is nothing like the feeling of inner emptiness muffle and dissatisfaction with himself (it about the designer). The flower is beautiful and smells good, because this is its function - to attract insects. Product design tells a lot about its creator. Design - is an indicator state of internal world. In this sense, modern design takes the role of art: "In a decaying society, art, if it is truthful, must also reflect decay. And unless it wants to break faith with its social function, art must show the world as changeable. And help to change it." Ernst Fischer.

I live in Russia and I grew up in a not rich family. I had to constantly save money and think about why I buy anything. I never throw money and thought about the welfare of not only myself but also about my family. So my life is reflected in the design. Now I think about what I do that either in the design and think about the welfare of not only people, but also about my home: Earth.

Know yourself, then you'll feel the people and their needs. You'll feel the boundaries yourself and your same needs. If you feel better world you can create things that most accurately reflect the needs of people. Designer is a psychologist of the material world.

I can say, that it is very responsible and hard work which requires great knowledge of the modern world. And this knowledge should be enough to see the future. And what could be wrong with that, to create and to create something new?

Never resist the inner instinct. Never give up and work until the end.

The most important skills for a designer are the ability to see problems and opportunities and more clearly respond to tasks. Have a clear vision of his future world! And the ability to light up the idea and to strive to bring to life!

I use almost everything to achieve my desired effect at a certain stage of design. Often it is necessary to check anything empirically, so I often work with the materials, check their properties, how they fit. Mandatory components is a work on the computer. I often pass over the sketching stage. I prefer to think in 3Ds Max. As required I use all.

This is the most complex component. It really is. If you want to pass the job in time, then you must not sleep. In the design process of the project Servven: model creation and animation - it took 3 weeks. Everything was clearly laid out: 5 days on exterior, 5 days on interior and 11 days for the animation. I worked 18-20 hours a day and slept for 3-4 hours. This is a very unusual condition. Then I was very lit this idea and did not want to sleep , but I knew that the body needs rest. Well that this work was carried out at home. I used 4 computers to render images despite the fact that two of them were on the remote access. It was originally calculated so precisely that the work was loaded in 5 minutes before the end of reception of works ( work was done initially not award A 'Design Awards)! It's always necessary to do the layout of forces and cut off the steps. If something is not done, you have to throw it and go on.

What I wanted to do in the future. How do I see myself in the future?

In the future I would like to delve into the theoretical foundations of design and depth psychology influence on the design model. I would like to raise NCC Russia company in which I have recently come and show the possibilities of design using composite materials.

I prefer to work alone, but always use the help of professionals with an authoritative opinion on the issue has arisen in me. For example, I am constantly in contact with designers, engineers, technologists.

You can find me on Instagram dmitry__pogorelov or on Telegram @DTechman Mob.: +7 (903) 965 53 33 e-mail: techmann@mail.ru identydp@gmail.com

Considering my education I have three degrees in different fields of design. In 2008 I graduated with honors from Moscow Publishing and Printing College with a degree in graphic design. Then In 2014, I finished a 6-year specialist degree program in transportation design at Stroganov Moscow State Academy of Design and Applied Arts. And In 2017, I completed a 3-year postgraduate degree program in art criticism at the latter institution. Upon completion of the program, I received the qualification "Researcher. Teacher-researcher".

As an industrial designer, on one hand, I find pleasure in transforming meanings into tangible forms. I create new meanings for people, new ways to perceive life. On the other hand, design for me is a way to share a part of my own personality with others through its objectification – my way of making a non-verbal connection. Of course, more often than not, I capture the personality and goals of the consumer or client in the design product. In this sense, the object becomes a manifestation of the synergy of consciousness: mine, the consumer’s, and those who produce the product. By observing or interacting with an object, one can connect with the consciousness behind it and the mode of existence it represents. Using or consuming an object establishes a direct link between personal consciousness and the collective social consciousness that shaped it, sharing its values. This is the most beautiful thing one can realize when doing industrial design. Through this process, I engage with the consciousness of humanity, which has been shaped by thousands, even millions, of years of evolution, and contribute to sustaining that connection.

My mother took me to art school when I was 5 years old and ever since then art has been a part of my life and design as an organic extension of that path.

I like to work with projects where the symbolic and aesthetic component prevails. In this respect, decorative lighting, limited collections and luxury products have the greatest potential for my expertise. But when it comes to finding a corporate identity for a mass product, these tasks also resonate with me.

To become a true legend, a designer must cultivate passions beyond design itself. Personal discoveries in other areas bring unique depth to design objects. Designers should not limit their growth to their field but explore adjacent disciplines to enrich their perspective. This approach allows design products to connect more deeply with cultural and social contexts. For instance, it’s essential to understand art history, study semiotics as the foundation of visual language, and grasp the cultural and societal meanings of objects. Designers should also explore consumer psychology and how objects shape human perception and consciousness. By broadening their knowledge and skills, young designers can create work that transcends trends and becomes timelessly significant. For example, understanding art history provides valuable perspective, while studying semiotics builds a foundation for mastering visual language. It’s also crucial to grasp the cultural and societal meaning of objects, explore consumer psychology, and understand how design influences human perception and consciousness. Such multidisciplinary knowledge makes design more thoughtful, relevant, and impactful.

In my view, a good designer modernizes existing products. They refine and improve forms without fundamentally changing them. A great designer, however, creates entirely new ways of living, mediated through their design. This is a level of innovation that introduces forms of existence previously unknown to humanity. A great designer establishes new principles of form-making that become cultural benchmarks, canons and set new standards. Their work doesn’t just enhance – it redefines and reshapes the way we perceive and interact with the world.

When evaluating good design, Dieter Rams’ 10 principles offer a solid foundation. However, I believe good design goes further – it immerses the user in a shared historical and socio-cultural context. It doesn’t sever ties with the past but uncovers new forms rooted in the collective unconscious. A truly good design also reveals the personality of its user – an identity previously unrecognized by society. It reflects their lifestyle, thoughts, and worldview. The role of a good design product is to help integrate this emerging individuality into the broader cultural and social framework. Moreover, good design anticipates and articulates evolving social and cultural trends, shaping and reflecting the philosophy of its time. It is both timeless and forward-looking.

Good design not only makes our lives more functionally efficient but also transforms dreams and imagination into reality. In a world filled with challenges, good design helps us overcome them with joy and ease. Like nature, design brings harmony into our lives, creating a space where we reconnect with the greater whole – our culture. Design and its creations act as a "second nature", a new reality and culture that we build and uncover for ourselves and future generations. By investing in good design, we invest in a brighter, shared future for humanity.

I don’t focus on designing specific objects, as the form of a design product is just one way to address a particular problem. My attention lies not on the object itself but on the philosophy it embodies. However, I would love to work with decorative lighting and objects made from materials like marble, glass, carbon, wood, and plastic. These materials are rich in potential and serve as powerful mediums for expressing various ideologies and philosophies. I envision my designs as carrying an educational or enlightening purpose. My ideal audience would be intellectuals, aesthetes, and innovators – individuals who value thought-provoking design and its ability to inspire and connect on a deeper level.

I have a couple of projects in mind – tables and lighting fixtures with profound philosophical undertones and intriguing forms. These designs are not just functional objects; they embody deeper concepts and narratives. However, bringing them to life would require the support of investors, as their realization is currently beyond my capacity. Unfortunately, I haven’t found the time to pursue these projects due to the demands of numerous ongoing commitments that require my full attention. Still, they remain a dream I hope to bring to fruition in the future.

The foundation of my projects lies in a strong theoretical base and a broad understanding of design within a larger context. I also draw inspiration from my passion for studying nature and the cosmos, which helps me think not in terms of isolated objects but in terms of their broader context. This approach allows me to think systemically and structurally, focusing on patterns and principles of form-making that transcend specific objects. Instead of narrowing down to the object itself, I aim to express universal truths through my designs. For me, true success in design comes from this ability to connect the individual with the universal.

I deeply admire the visionary thinking of Zaha Hadid and how it manifests in her design and architectural works. I cannot overlook the unique approach, grandeur and nobility of thought of designer and futurist Jacque Fresco, who inspired me to create at least two projects. Daniel Simon and Konstantin Grcic also influence me with their mastery of geometry and form. Additionally, I admire the creativity and brilliance of Philippe Starck and Karim Rashid in shaping the essence of objects. Coming from a background in transportation design, I find great inspiration in this field as well. Companies like Porsche and Mercedes-Benz, with their innovative ideas and fluid, sculptural forms, have significantly influenced my approach – and traces of this can be seen in some of my own design projects.

It’s difficult to single out a specific design object, but if I were to focus on chairs, a few stand out as exceptional examples. Philippe Starck’s Louis Ghost Chair is one of my favorites for how it adapts and transforms historical heritage through contemporary philosophy and technology, creating a truly iconic design product. Konstantin Grcic’s Sultan Chair is another remarkable example, where the simplicity of form-making is elevated by the use of materials like marble to convey the image of heroic pathos. Similarly, Eero Aarnio’s Ball Chair impresses me with how it integrates cosmic themes into a pure geometric form, offering an immersive and futuristic experience. These designs demonstrate how a product can go beyond functionality, placing the user within a unique cultural or conceptual context, which is what great design should do.

My most remarkable design so far is the Zeitgeist Clock, which was awarded the Golden A’ Design Award in 2014 in the Home Appliances Design category. Time is a fundamental element of human existence, and these clocks do more than simply measure it – they embody the contemporary perception of time. In my view, the design captures an objective snapshot of our era through its form and concept. The design’s expressive form was achieved by blending postmodern philosophy with cutting-edge materials, technologies, and principles of form-making. Key features include the use of carbon fiber, LED time indication instead of traditional hands, the deliberate absence of a central clock section, backlighting and a sculptural minimalist aesthetic. Each element works together to tell a story encapsulated within the clock’s design. After receiving the award, the project underwent further refinement to perfect its technical execution, which only enhanced its visual and functional qualities. Ultimately, the Zeitgeist Clock was produced as a limited-edition series, transforming it into a collectible object that bridges art, design, and innovation.

Design goes far beyond the utilitarian aspects of an object. A designer is, first and foremost, a storyteller, crafting a narrative that shapes new behaviors and ways of thinking for the user. To be a great storyteller, you must read widely and dive deep into the theory of design and art, while also exploring fields like philosophy, history, marketing, semiotics, psychology, consumer behavior, and systems theory. At the same time, practical disciplines like ergonomics and engineering are essential, though these often come as a natural part of the design process. For me, immersing myself in this multidisciplinary approach has been key to creating design projects of true quality. It allows me to shape my narrative into tangible forms and to become an active participant in helping users achieve their goals through the design products I create.

I would most likely have pursued astronomy. I’ve always been drawn to exploring fundamental questions about the nature of our universe – what underpins its existence, where it began, and where it will end. These questions provide a framework for understanding where we’ve come from, where we’re headed, and humanity’s place within this vast reality. I’m also deeply interested in psychology. I spend a significant amount of time exploring both my own psyche and the psychology of others. This reflects my desire to understand human nature and uncover the roots of our behavior. As a child, I was fascinated by diving. Looking back, I see it as a metaphor for delving into the unconscious – returning to water as the primal source of all life’s diversity. Each of these passions reveals my intrinsic curiosity about the origins and essence of existence, which inevitably influences my work as a designer.

I have explored the concept of design in depth, even publishing several academic papers on the subject. Defining design is as complex as defining life itself, so formulating a concise definition is challenging. However, if I were to simplify my perspective, I would offer two definitions. First, design is a form of thinking-activity, systematically determining new forms of thinking-activity, embodying them in a more meaningful and purposeful form for an individual and society. Second, from a philosophical and historical standpoint, design is a historical and ontological way of understanding timeless reality and reproducing the results of that understanding in various cultural forms. Together, these definitions encapsulate how I approach and conceptualize design in my projects, balancing its different dimensions.

During my first year at the academy, we were told that we would primarily learn from one another. In many ways, the healthy competition within my group and the constant exchange of ideas helped me achieve certain milestones. In fact, our cohort was considered the strongest by our professors, and to this day, they say there hasn’t been a group as exceptional as ours. As a student, I also had the privilege of collaborating with designers from Renault, who introduced me to innovative approaches to form development. Additionally, my academic journey was significantly shaped by my PhD advisor, a distinguished doctor of art history, who provided invaluable guidance on topics like semiotics and consumer behavior in design. Their mentorship helped refine my understanding of design as both an art and a science.