Nataliia Vergunova

Nataliia Vergunova: From an early age, I was fascinated by the interplay between form, space, and emotion. My academic background in design and architecture, along with years of professional experience in both education and creative practice, has allowed me to explore this fascination deeply. I’ve always been drawn to the poetic potential of materials, light, and structure, how they can shape perception and atmosphere. Becoming a designer was a natural evolution of that curiosity. It’s a field where artistic expression meets problem-solving, and that balance continues to inspire me every day. Sergey Vergunov: Not always. Initially, I wanted to be an artist, and in 1975 I entered an art school, which I graduated from in 1979. After the school, I tried to enter the Kharkov Art and Industrial Institute (Khudprom) on the specialty “Interior and equipment”, but did not pass the competition. At that time, for one student place in the institute, depending on the specialty, claimed from 5-6 to 40 people. Then I served in the army, in the border troops on the border with Afghanistan (1979 - 1982). Returning to Kharkov, I again tried to enter Khudprom, but by my own stupidity did not take advantage of the benefits of admission, which were entitled after serving in the army and again did not pass the competition. One of the examiners found out about it and took me to the rector. To avoid a scandal I was offered a place at the Rabfak (a working faculty with one-year training in a specialty and with a guaranteed subsequent enrollment in the students). But at the end of rabfaka place was occupied by the same army man as me, and I was offered a specialty “Artistic Design”, today's analog of industrial design. I agreed and I do not regret it at all. I immediately liked this specialty, although before that I had no idea about this profession. I was one of the best students, and after graduation, in 1988, I was invited to the department as a teacher, where I worked for almost 30 years. In 2017, I moved to another university and opened my own department “Interior Design” with the educational level “Bachelor”. Maria Kolesnikova: I studied for four years at Kharkiv National University of Urban Economy named after O. M. Beketov and will graduate in 2025. During this time, I took part in various competitions and developed strong skills through course projects. I've always wanted to be a designer because I saw this profession as meaningful and interesting and I wasn’t wrong.

Nataliia Vergunova, Sergey Vergunov, Maria Kolesnikova: At O.M. Beketov National University of Urban Economy in Kharkiv, the design faculty is represented by two closely integrated academic departments: the «Department of Design and 3D Modeling», which I have the privilege to lead, and the «Department of Design and Interior Design», headed by Professor Sergey Vergunov. Together, these departments form a dynamic ecosystem for design education, digital experimentation, and applied research. «Department of Design and 3D Modeling» focuses on visual communications, multimedia design and advanced 3D modeling. Our specialization lies in the integration of cutting-edge technologies, such as artificial intelligence, generative algorithms, parametric modeling, and immersive environments, into both academic practice and real-world applications. Our students and faculty regularly participate in international design competitions and develop projects that span physical prototyping, digital fabrication, and virtual interaction. The «Lumenica» luminaire project, which received the Bronze A' Design Award, is one such example of this synergy between research and practice. The «Department of Design and Interior Design», under the leadership of Professor Vergunov, is renowned for its work in product design, interior spatial design and environmental aesthetics. It emphasizes a conceptual and human-centered approach to shaping interior environments, with strong foundations in both artistic expression and digital representation. While rooted in academia, both departments operate with the rigor and ambition of design studios, nurturing original ideas, facilitating interdisciplinary collaboration, and maintaining a strong presence in the international design community. Together, we create a space where education and innovation converge, preparing future designers to think critically, work experimentally, and engage responsibly with the built and digital environment.

Nataliia Vergunova: Design, to me, is a dialogue between intention and experience. It’s the act of shaping not just objects, but interactions and emotions. Good design speaks without words, it influences how we feel, how we move, and how we relate to the world around us. It’s both intuitive and intellectual. For me, design is a powerful tool for storytelling, transformation, and connection, whether through a light fixture, a public space, or an everyday object. Sergey Vergunov: Lifestyle. I am constantly in a “design” state: teaching this profession to children and designing for adults. At a certain stage, for some, design becomes more than just a profession or a means of making money. It becomes the meaning of life. And then design becomes a pastime for a select few. When you design not for the sake of someone, but for yourself, for the process itself. When a long nurtured idea is born out of nothing, when it materializes into a model, a subject, an object, the moment of truth comes. Only the chosen ones can do it. I count myself among such people. Maria Kolesnikova: For me, design is a way to look at familiar things from a new angle and make them better. It’s both useful and exciting, it solves problems and brings fresh meaning to everyday life.

Nataliia Vergunova: I am most passionate about designing objects and spaces that evoke emotion and invite interaction. Lighting design, in particular, holds a special place in my heart because of its ability to transform perception through subtle shifts in material, form, and illumination. I enjoy exploring organic forms, modularity, and the potential of new materials to push the boundaries of traditional design. Projects that challenge conventions and offer poetic or immersive experiences resonate deeply with me. Sergey Vergunov: I'm an omnivore. I like design in principle. I mainly work in three specializations: industrial design, interior design and graphic design. Maria Kolesnikova: I enjoy redesigning things that already exist exploring new forms and rethinking familiar concepts in unexpected ways.

Nataliia Vergunova: One of my favorite designs in industrial design history is the E1027 adjustable table by Eileen Gray. Designed in the late 1920s, it remains a timeless example of how form, function, and elegance can coexist in perfect balance. What fascinates me about this piece is its clarity of purpose combined with its sculptural presence, it is utilitarian without being utilitarianist. Sergey Vergunov: Industrial Design. It is the quintessence of design and requires maximum concentration and extensive knowledge in many fields. Especially when it comes to designing specific objects and items, such as the “Condom Inspection Quality Machine”. Maria Kolesnikova: One of my favorite design objects is the Arco floor lamp by Achille and Pier Giacomo Castiglioni. I admire its clean and timeless design. Even decades after its creation, the lamp remains relevant and continues to fit naturally into modern interiors

Nataliia Vergunova: As a 3rd year student, developed transformable radio equipment. Sergey Vergunov: Children's toy “All-terrain vehicle - tractor - crane”, while still a third-year student of KHPI. Maria Kolesnikova: My first major design project at university was in my second year. We had to create a mascot for the departments, which was later turned into a stationery case. I came up with the idea of a tiger-shaped case, and it was eventually produced.

Nataliia Vergunova: Metal is one of my favorite materials to work with, both for its structural potential and its expressive versatility. What I find compelling about metal is its duality: it can be cold, precise, and industrial, yet also warm, fluid, and sculptural depending on how it is treated. This adaptability makes it an ideal medium for exploring contrasts in form, texture, and light. Sergey Vergunov: As an industrial designer, I don't have that. I have to learn and work with materials and technologies in the context of a future project. If we consider design tools as a platform, my favorite is SolidWorks. Maria Kolesnikova: My favorite material is wood. It’s natural, warm, and visually rich. Wood pairs beautifully with many other materials, making it versatile and timeless in design.

Nataliia Vergunova: I feel most creative at the moment when a concept transitions from an abstract idea into a structured design system, when visual intuition is reinforced by methodology. Creativity emerges in the tension between clarity and ambiguity. Sometimes it begins with a material's unexpected behavior, other times it arises from a philosophical question or an aesthetic constraint. Interestingly, the dialogue with students and academic teams also stimulates creativity: teaching becomes a medium of reflection and innovation. Sergey Vergunov: Always. But especially in the bathtub or on the road. At this time, nothing prevents you from thinking about future projects. Maria Kolesnikova: I feel most creative after listening to good music. It deeply inspires me and helps unlock new ideas and moods in my design process.

Nataliia Vergunova: I focus most intensely on the relationship between form and human interaction. My approach is holistic but driven by the desire to make a design emotionally resonant and spatially coherent. Functionality and ergonomics are crucial, but so is the semantic layer: what the design communicates, how it shifts perception, and how it transforms its environment. Whether it's a luminaire, an interior, or a digital installation, I am constantly balancing geometry, atmosphere, and narrative. Sergey Vergunov: Beauty and usefulness. Maria Kolesnikova: I pay close attention to functionality and ergonomics. For me, these are essential aspects of thoughtful and effective design.

Nataliia Vergunova: Designing brings a rich spectrum of emotions, ranging from anticipation and curiosity to deep concentration and reflection. There is a sense of joy in experimentation, in discovering unexpected connections between form, function, and meaning. At the same time, the process carries a sense of responsibility, as every design choice contributes to shaping human experience and cultural context. It is often a meditative journey, punctuated by moments of uncertainty and insight, making the act of designing both challenging and profoundly rewarding. Sergey Vergunov: Only positive ones. It is a great sacrament and to realize that you are good at it sometimes is very satisfying. Maria Kolesnikova: During design, I feel focused and calm. It’s a balanced process that helps me think clearly and solve problems.

Nataliia Vergunova: When a design is realized, I experience a profound sense of fulfillment mixed with reflection. There is pride in seeing an idea take form, but also a quiet awareness that the object or space now belongs to others: to users, observers, and the urban or emotional fabric in which it is embedded. Sergey Vergunov: Professional delight. Especially when they are as true to the original you came up with as possible. Unfortunately, this is not always the case. Maria Kolesnikova: I feel pride and relief when a project is completed. It’s a rewarding and joyful moment to see ideas come to life.

Nataliia Vergunova: A design is successful when it achieves harmony between function, aesthetics, and meaning. It must solve a real problem or enhance an experience, while also offering visual and emotional depth. A truly effective design engages its users intuitively and resonates beyond its immediate use, provoking thought, evoking feeling, or encouraging dialogue. Success also lies in adaptability, clarity of concept, and the ability of the design to remain relevant in a changing context. Sergey Vergunov: When the tandem of “beauty and usefulness” is organically joined by an adequate price of the product for the end consumer. Maria Kolesnikova: I believe a design is successful when the idea is well executed and meets its purpose.

Nataliia Vergunova: The first aspect I evaluate is the conceptual integrity, whether the design expresses a clear idea and whether its form supports that idea consistently. I then assess its functionality and user-centeredness: how well it serves its intended purpose and whether it considers the needs, behaviors, and limitations of its users. Materiality, detailing, and environmental context follow. A good design is not just beautiful or original, it is thoughtful, intentional, and responsible in its execution. Sergey Vergunov: To the same ones - beauty and usefulness. But now it is benefit first, and then beauty. Maria Kolesnikova: When evaluating design, I first look at functionality, ergonomics, and how well the idea is implemented.

Nataliia Vergunova: Designers carry a profound responsibility to both society and the environment. Every project we create influences the way people live, perceive space, and relate to one another. Ethically, we must design with inclusion, accessibility, and cultural sensitivity in mind. Environmentally, it is essential to consider material sustainability, energy use, and lifecycle impact. Designers are not just problem-solvers, they are also cultural narrators and stewards of the built and natural world. Our work should aspire to improve the quality of life while minimizing harm and fostering long-term resilience. Sergey Vergunov: Before society - in creating beautiful and useful things. In front of the environment - the question is debatable: a designer does not influence deforestation in the Carpathians or the Amazon. Nor does it affect many other factors that harm the environment. Unfortunately. Maria Kolesnikova: A designer has a responsibility to create solutions that are not only functional and aesthetic, but also sustainable and socially conscious.

Nataliia Vergunova: The design field is evolving into a space where disciplines converge and boundaries dissolve. No longer limited to aesthetics or functionality alone, design today is increasingly about systems thinking, emotional intelligence, and social impact. We are witnessing a shift from object-centered design to experience-driven and ethically aware practices, where the designer is not just a form-giver, but a mediator between technology, humanity, and the environment. The future of design lies in interdisciplinarity and adaptability. Advances in artificial intelligence, immersive technologies, and sustainable materials are reshaping the tools we use and the questions we ask. Designers are now expected to engage not only with form and function but also with data, inclusivity, climate responsibility, and digital ecosystems. Sergey Vergunov: Design is an open multi-level structure: it creates new professions and new tools within professions, new species and new objects within species, and in the end - it creates new values! This has been happening much faster recently than at the beginning of the century. And there is a definite problem here - design science and methodology have not kept up with these changes. The future of design is likely to be in narrowly focused specialization. Maria Kolesnikova: Design is gradually shifting toward practicality, sustainability, and user comfort. I think it will continue to develop in this direction.

Nataliia Vergunova, Sergey Vergunov: In 2020, we invented and already twice held the international design campaign “VKHUTEMAS. VASILY YERMILOV. 3D”. It has the format of a triennale. The subject of the design-action is to develop your own version of one of the famous works by Vasily Yermilov or other constructivists by means of 3D-modeling. The last exhibition of works was held in 2023, and we plan to hold the next one in 2026. Maria Kolesnikova: My first exhibition was Constructivism. Vasyl Yermylov. 3D (2023), organized in Kharkiv by university departments. It was dedicated to the theme of constructivism and featured student works inspired by the movement.

Nataliia Vergunova: My inspiration often begins with nature, not just its forms, but its systems, rhythms, and quiet intelligence. I’m drawn to the elegance of biomorphic structures, the way organic forms evolve in response to their environment. This fascination with natural processes feeds into my design language, which often explores fluidity, transformation, and emotional resonance. Sergey Vergunov: The world around me. And the people around me. My students. Maria Kolesnikova: I find inspiration in music and travel. They help me see things from new perspectives and spark fresh ideas.

Nataliia Vergunova: I would describe my design style as poetic minimalism infused with organic expression. It’s a balance between clarity and complexity, where every element serves both a functional and emotional purpose. My work often explores fluid forms, tactile surfaces, and the interplay between material, light, and space. There's a strong emphasis on creating objects and environments that feel alive, responsive, immersive, and resonant with natural rhythms. Sergey Vergunov: Sensual minimalism. Its characteristics follow from the name. As for the approach to design - I don't really understand the question. Design can be practiced or not. Maria Kolesnikova: I would describe my style as functional and balanced, with a focus on clean lines and thoughtful details. I’m drawn to simplicity, but I always look for a way to add a unique accent to each project. My approach is to create designs that are practical and visually calming, the kind of things people can comfortably live with every day.

Nataliia Vergunova: I live in Kharkiv, one of Ukraine’s major cultural and educational centers, known for its architectural diversity, intellectual heritage, and creative energy. The city has a rich modernist legacy and a strong academic tradition in design and engineering, which continues to shape my professional outlook. Growing up and working in Kharkiv, I’ve been surrounded by a blend of historical layers: Constructivist architecture and contemporary Ukrainian art, which all influence my design sensibility. Sergey Vergunov: In the city of Kharkiv, in the country of Ukraine. If the cultural heritage of the country is considered as a social and educational factor, then we can say that it has an impact. I have an opportunity to do what I like quite freely, and this is a plus. On the downside, I will refer to the long-term decline in the level of industrial production, which is a determining factor in industrial design. Maria Kolesnikova: I live in Ukraine. The cultural heritage and local environment influence my design taste and often inspire how I approach form and detail. One of the advantages is a rich visual tradition to draw from. A challenge, however, can be limited access to some materials and production resources.

Nataliia Vergunova, Sergey Vergunov: It's all very individualized and depends on the customers. Maria Kolesnikova: During my studies, I had the opportunity to work with real clients twice. The first was Kharkiv Municipal Dentistry, for which I developed an interior design. The second was the Ukrainian furniture company KUBIS, which commissioned a two-story modular exhibition cluster. Working with real clients is a valuable experience for a student.

Nataliia Vergunova: To work effectively with a designer, companies should begin by viewing design not just as a decorative or final-stage task, but as a strategic process that adds value at every level, from concept development to user experience. A successful collaboration is built on mutual trust, clear communication, and a shared understanding of goals. It’s essential to involve designers early in the process, allowing space for creative thinking and innovation before decisions are fixed by technical or market constraints. Sergey Vergunov: Do not be greedy and realize that the designer is not their enemy, but their assistant in business. And don't try to realize only your “desires” through the designer. Maria Kolesnikova: I would recommend that companies keep clear communication with the designer and give constructive feedback throughout the project. It's also important to trust the designer's expertise and be open to creative solutions. A good designer is someone who can listen, adapt to the task, and bring value through thoughtful and functional design.

Nataliia Vergunova: My design process is a balance of research, intuition, and material exploration. It starts with defining a clear concept, often inspired by nature, culture, or emotional context, followed by quick sketches and models to explore form and experience. Material behavior, especially light interaction and texture, plays a key role early on. I then refine the design through digital iterations and prototyping, ensuring functionality, emotional impact, and manufacturability. Collaboration with engineers or artisans is often part of this phase. Throughout, I focus on clarity, coherence, and emotional resonance. For me, a successful design not only solves a problem, but also creates a meaningful, sensory experience. Sergey Vergunov: In all likelihood, it is the same as everyone else's: studying analogues and prototypes, sketching, working out the basic variant, creating a visualization or conditional prototype in the form required by the customer. Perhaps the only obvious difference is that I have not been drawing anything “by hand” for the last 20-25 years. I immediately start sketching in life-size 3D with respect to the real proportions of the object or subject. It's disciplined. Maria Kolesnikova: My design process starts with exploring ideas and sketching. After that, I move to detailed development, which usually flows more smoothly once the concept is clear.

Nataliia Vergunova: My own projects: table lamps, coffee tables, chairs, hangers, wall clocks, etc. Sergey Vergunov: My own projects: table lamps, wall clocks, cell phone stands, etc. Maria Kolesnikova: My five favorite home design items are lighting fixtures, shelving units, chairs, coffee tables, and wardrobe systems.

Nataliia Vergunova: I usually wake up at 5 a.m., go through my morning routine, have breakfast, and enjoy about an hour and a half of free time. My classes typically begin at 8:30 a.m. and take place almost every day. Depending on the schedule, I work with students until around 3:55–5:55 p.m. I do project or research work after class. Sergey Vergunov: I get up at 6 a.m., clean myself up, have breakfast, and have an hour and a half of free time. At 8.30 a.m. classes start (actually every day) and depending on the number of pairs, I work with students until 15.55. After that I work with projects, as a rule, until 21 - 22 hours. Before going to bed I read for an hour and a half, then I sleep. Naturally, it can be different - it all depends on the current situation. Maria Kolesnikova: A typical day mostly revolves around my studies since my fourth year at university is quite demanding. I also make time for meeting friends and relaxing walks by the sea.

Nataliia Vergunova: My main advice to young designers is: stay curious, stay resilient, and stay honest with yourself. Design is not just about trends or visual appeal, it’s about asking the right questions, observing the world deeply, and creating with purpose. Be open to interdisciplinary learning. Explore art, science, architecture, nature, anything that expands your way of thinking. Some of the most innovative ideas come from outside your comfort zone. At the same time, master the fundamentals, materials, structure, proportion, because strong ideas need a strong foundation. Sergey Vergunov: THE SEVEN DEADLY SINS OF A DESIGNER 1- Laziness is the main enemy of the designer! Do not be lazy, think about the project every minute under any circumstances. Go through the options until you find the one and only, the most correct and beautiful. 2. greed ruins the talent of the designer! Charge for your work exactly as much as it is worth. A greedy designer is poor spiritually and poor professionally. 3. Fornication wastes a designer's energy! Don't grab for more than one thing: do one thing, but thoughtfully, well and honestly. 4. Be angry at yourself if the project you're working on doesn't work out! No one else is to blame: not customers, not coworkers, not family. 5. Envy a good project, a witty idea, a beautiful form! But don't envy the designers who created them, because a designer's work is not easy and requires full dedication and diligence. 6. Gluttony dulls the designer's senses! Only a designer can create an emotionally intense project, who preaches social consumption. 7. Be proud, but not haughty! Be proud of the work you've done. But remember that there is a designer somewhere who can do it better than you. This text of mine has an extended interpretation, but it takes up a lot of space. Maria Kolesnikova: I’m still a beginning designer myself, but I’d like to encourage other young designers not to be afraid of entering competitions and staying active. Be persistent, patient, and keep learning new tools it will definitely pay off.

Nataliia Vergunova: Being a designer means having the opportunity to transform ideas into meaningful experiences. It’s a creative and intellectually rich profession that allows constant growth, experimentation, and the joy of seeing your work impact people’s lives. The interdisciplinary nature of design also keeps it dynamic and inspiring. On the downside, design often involves unseen effort, long hours of research, iteration, and compromise. Balancing creativity with constraints and handling subjective feedback can be challenging. It also requires emotional resilience and a strong sense of purpose. Still, for those passionate about shaping the world thoughtfully, the rewards are worth it. Sergey Vergunov: I don't compartmentalize the designer's work that way. Maria Kolesnikova: One of the main advantages of being a designer is the opportunity to be creative and solve interesting problems. On the downside, the job often involves long hours sitting at a desk, which can affect health if not managed well.

Nataliia Vergunova: Design with intention, not decoration. Every element should serve a purpose, whether functional, emotional, or conceptual. Clarity, honesty in materials, and empathy for the user are essential. If a design communicates meaning and creates connection, it will endure. Sergey Vergunov: To be responsible and decent. Maria Kolesnikova: My golden rule in design is to keep things clear and functional. A good idea should always be easy to understand and comfortable to use.

Nataliia Vergunova: The most essential skills for a designer go beyond drawing or software. Critical thinking, empathy, and visual literacy are key, understanding not just how things look, but why they matter. A good designer must be able to observe, interpret, and translate ideas into form with clarity and purpose. Sergey Vergunov: Ability to work fluently in 3D. Maria Kolesnikova: The most important skills for a designer are creativity, attention to detail, and good communication. Problem-solving and time management are also essential.

Nataliia Vergunova: My design process is centered around digital tools. I primarily use Solid Works, Autodesk 3ds Max, KeyShot, etc. for modeling, visualization, and presentation. A drawing tablet is essential for quick sketching and concept refinement in a digital workflow. While I occasionally use hand sketches and physical models, most of my work is developed and tested in a virtual environment. I also draw inspiration from digital archives, online research platforms, and visual databases, which help me stay connected to global trends and innovations. Sergey Vergunov: Basically, I have already answered this question above. I can add about traveling as one of the sources of inspiration. Maria Kolesnikova: I use different design programs, but I prefer SolidWorks because it’s reliable and easy to work with for my projects.

Nataliia Vergunova: I balance deep work with short breaks to keep my mind fresh, and I try to leave space for reflection and iteration, which are essential to good design. Time management, for me, is about discipline, but also knowing when to pause and let ideas evolve naturally. Sergey Vergunov: The answer is in question 24. Maria Kolesnikova: I manage my time by breaking tasks into smaller steps and setting clear priorities. This helps me stay organized and avoid feeling overwhelmed.

Nataliia Vergunova: Individualized and unpredictable. Sergey Vergunov: Unpredictable. Everything depends on the object itself and on the state - “as it goes”. Maria Kolesnikova: Each project takes a different amount of time, depending on the complexity and scope of work. On average, it takes around sixteen weeks to complete.

Nataliia Vergunova: One of the questions I hear most often is: “Where do your ideas come from?” People are always curious about the source of creative inspiration. My answer is that ideas come from observation, research, and sensitivity to the world around me: nature, culture, materials, and human behavior. Inspiration isn’t a sudden spark, it’s a process of collecting impressions and translating them into meaningful design. Sergey Vergunov: How much do your services cost? Maria Kolesnikova: I’m often asked, “You’re a designer? So, what do you draw?” Unfortunately, many people around me, especially from the older generation, often confuse design with fine art.

Nataliia Vergunova: Working on the practical part of my PhD thesis when I developed a transformable mobility aid for people with disabilities. Sergey Vergunov: Working on a thesis project in 1988. Maria Kolesnikova: The most valuable experience for me has been working with clients and taking part in design competitions. One of the highlights was participating in the A’ Design Award.

Nataliia Vergunova: Local firms and companies. Sergey Vergunov: As a rule, these are local firms and companies. I can't boast about super famous brands. I can't get through there, but I don't need to. Maria Kolesnikova: I’m still a student and haven’t worked with many clients yet, but currently I’m working on creating an exhibition cluster for the furniture company KUBIS. They approached me as a future interior designer.

Nataliia Vergunova: I most enjoy working on object and lighting design, especially when it involves sculptural form and material experimentation. These types of projects allow me to explore the intersection of aesthetics, function, and atmosphere. Sergey Vergunov: Industrial Design. Real Design is a great art. It is the creation of a new product, a new image, new consumer properties and qualities of a tangible, tangible, material object. It is an amazing sense of composition, proportions and ratios, mixed with an understanding of materials, construction and knowledge of technology. And I am interested in it. Maria Kolesnikova: I enjoy interior design and furniture creation because they are always engaging. Every project is different, and it’s interesting to find practical and aesthetic solutions each time.

Nataliia Vergunova, Sergey Vergunov: We live in a difficult time and place. It is not worth guessing what will happen next. But we hope for the best. Maria Kolesnikova: My plans are to finish university successfully and find a job in my field where I can gain experience and grow professionally.

Nataliia Vergunova: Working with my father, he instilled in me an interest in design. Sergey Vergunov: Usually with my daughter. She's a designer, too. Maria Kolesnikova: As a student, I work on my projects together with my instructors, Natalia and Sergey Vergunovs. They guide the learning process and help me stay on the right track.

Nataliia Vergunova, Sergey Vergunov: T-furniture initiative project. About telling - it's not easy. You have to show it. Unfortunately, we have abandoned it - there is not enough time. Maria Kolesnikova: Right now, I’m working on a project for the company KUBIS. It’s a large and detailed task that sums up everything I’ve learned over four years of university studies.

Nataliia Vergunova: n.vergunova@gmail.com Sergey Vergunov: s.vergunov@gmail.com Maria Kolesnikova: kolesnikova710mariya@gmail.com

Nataliia Vergunova: Whether through teaching or creating, I see design as a continuous dialogue between humans, materials, and meaning. I’m grateful to contribute to that dialogue and excited to see how the next generation of designers will expand it even further. Sergey Vergunov: It's hard to say. There could be a lot of them. About terminology in design, for example. About the methodology of design education. About the greed of some developers of computer programs for design. About the “scientism” in design in our territories. And so on and so forth. Maria Kolesnikova: I believe the questions covered the key aspects of my work and design journey. I don't have anything to add at this moment.