ᨓᨓᨊᨌᨑ ᨔᨗᨒᨚᨂ Karina Mayer

I have been working in architecture and interior design since 2012. Over the years, my approach has been shaped primarily through the realization of projects, where the key is not only creating an idea, but bringing it to a precise and controlled result.

Real experience in design comes from execution — from working with real constraints, budgets, materials and timelines. This process builds a clear understanding of responsibility and decision-making. For me, design is not a conceptual exercise, but a system that must function correctly in reality.

My path into design was a natural continuation of an internal desire to transform space. From an early age, I intuitively felt that environments could work better — more logically, more comfortably and more precisely.

Over time, this instinct evolved into a profession. I did not arrive at design through trends or external influence, but through a consistent need to improve the space around me. This internal drive remains the foundation of my work today.

I do not define my work through a specific style. My priorities are based on spatial logic, function and clarity of structure. I follow a timeless approach and work with natural materials that retain their value over time.

For me, it is essential that a space has a clear function and does not depend on temporary trends. I focus on planning, proportions and how the space is used. The visual layer is always a result of a well-built system, not the starting point of the design process.

During the process, I feel focus and responsibility for the outcome. Designing requires constant attention to detail and the ability to make precise decisions.

Satisfaction comes when the solution is clear, logical and works exactly as intended. It is not about emotional expression, but about achieving a result that does not require correction.

My approach was shaped through the realization of projects. Working with real objects, constraints and execution showed me that design is not only an idea, but a system of decisions that must be implemented correctly.

This experience taught me discipline, precision and the importance of responsibility at every stage. It also reinforced my belief that the value of design is defined by its execution, not by its presentation.

My growth path is focused on scaling my approach and working on larger, more complex projects. I am interested in tasks where design operates not only as a visual layer, but as a structured system that defines how space functions.

In the future, I see development in international projects, as well as in the field of real estate strategy and analysis. My goal is to combine design and strategic thinking into a single process that increases the long-term value of a project.

Do not start with the visual aspect. Learn to work with function, planning and spatial logic first. Without this, design has no foundation.

It is also important to bring projects to realization. This is where the profession truly begins — when you face real constraints, materials and responsibility for the final result. Theory without execution does not build understanding.

Work systematically and do not rely on trends. Trends are temporary, but space remains.

Focus on function, durability and precision. A strong project is built on clear logic and well-resolved decisions, not on visual эффект. Design should be able to work over time, not only at the moment of presentation.

My day starts at 6 a.m. with my family, followed by work with projects, the team and clients.

It is an intensive process that requires focus, structure and constant decision-making. I work within a clear system, where each stage of the project has its own logic. This allows me to maintain control and consistency throughout the entire process.

I do not follow trends. For me, trends are not a reliable foundation for design decisions.

I focus on durability, natural materials and long-term relevance. A well-designed space should remain valuable regardless of changes in trends. Design must be based on principles that do not become outdated.

A project is well designed when it works without the need for explanation. I first evaluate the logic of the space, its function and how it supports real use.

If the foundation is correct — planning, proportions and structure — the visual aspect will naturally align. Good design is not something that needs to be justified. It is something that feels right because it functions correctly.

A design is ready when the solution is precise and requires no further adjustments. At this point, every element works logically and supports the overall structure of the space.

If the planning, proportions and function are resolved correctly and the project can be executed without compromise, then it is complete. For me, completion is not about stopping the process, but about reaching a state where no correction is needed.

The most important projects for me are those that were fully realized, because only in execution does design gain real meaning.

I would highlight the car museum project, where we worked not only on the interior, but on shaping the entire spatial experience. It required thinking beyond traditional интерьерного дизайну and creating a system that integrates architecture, movement, light and perception.

This project was complex in both concept and realization, and it reinforced my approach to design as a structured system rather than a visual composition.

Among contemporary designers, I appreciate the approach of Roisin Lafferty. Her work with materials, textures and spatial depth resonates with my view of design as a system rather than decoration.

I value designers who focus on substance, not trends — those who build spaces through logic, materiality and long-term thinking. This approach is closer to how I understand the role of design today.

My lifestyle is closely connected to my work. I operate in an intensive rhythm where structure and focus are essential.

The cultural environment I live in influences my work by requiring flexibility and the ability to adapt to changing conditions. At the same time, it reinforces my commitment to creating stable, durable and well-structured spaces.

For me, design is not a separate activity, but part of how I think, make decisions and organize everyday life.

My approach is based on system thinking and process control. I believe that a strong project is built on structure, clear roles and precise execution.

We work as a team, but key decisions are made by me, which ensures consistency and control over the result. I look for partners and collaborators who understand responsibility, can work within a system and are focused on execution, not only ideas.

For me, professional culture is defined by clarity, discipline and the ability to deliver a result without chaos.

We are involved in social projects on a pro bono basis. For me, this is a natural extension of the profession — design should not exist only within commercial projects, but also contribute to society.

Currently, in Ukraine, rehabilitation centers for veterans are highly relevant, and we are working on such a project. It requires a careful approach, where space must support both physical recovery and emotional stability.

Previously, we also worked on a library project for visually impaired children. These projects are different in scale, but they share the same principle — creating environments that genuinely improve quality of life.

Participating in the A’ Design Award provides an opportunity to view your work in an international context. It allows you to step outside of your local environment and understand how your projects are perceived globally.

It is also a tool for evaluating your professional level, identifying areas for growth and refining your approach. Competitions create a structured way to analyze your own work.

Another important aspect is expanding your professional network. Being part of an international design community opens new connections and perspectives.

In general, design competitions are valuable because they shift the focus from internal perception to объективной оценке. They help to measure not only the visual quality, but the depth and consistency of your approach.

The main idea behind the project was to treat the space not as a traditional exhibition, but as a scenographic environment.

We moved away from a chronological or static presentation of the collection. Instead, we focused on creating a spatial experience where movement, perspective and light define how the cars are perceived.

The inspiration came from the contrast between industrial architecture and collectible objects. The goal was to create a restrained yet structured environment that enhances the perception of the exhibits without competing with them.

The main focus was on spatial clarity, movement scenarios and visual hierarchy.

The layout was designed to allow visitors to interact with the space freely, without a predefined route. The space functions as an open system, where each visitor creates their own experience.

Special attention was given to integrating technical elements — lighting, structure and engineering — into a unified architectural logic.

We see this project as a model approach that can be scaled.

In the future, we plan to develop similar spaces where architecture acts as a system that enhances the perception of the collection rather than competing with it.

The concept was developed within a relatively short timeframe due to the fast-paced nature of the project.

The key decisions were made early and then refined throughout the process.

This design was developed in response to a specific task.

We worked within real constraints and requirements, which allowed us to form a clear concept based on function, structure and spatial perception.

No, this design is not manufactured or used by other companies.

It is a site-specific project created for a particular space and is not intended for mass production or licensing.

This type of work was defined by the task itself.

We were working with a specific object and collection, which required creating a space that not only displays the exhibits but forms a complete experience around them.

No, this project was not influenced by other designers.

The target client is private collectors and spaces that work with curated objects.

These are projects where not only storage, but proper presentation and perception of the collection is important.

The difference lies in the system-based approach.

The space is built as a clear structure where architecture does not decorate, but organizes perception and interaction with the objects.

The name was defined and approved by the client.

We used BIM modeling, 3D visualization and detailed technical documentation.

This allowed us to precisely control the project at every stage.

The most unique aspect is the balance between architectural restraint and spatial expression.

The space is not overloaded, yet it has a clear identity.

Yes, we involved specialized professionals.

This included a multimedia team, screen installation, virtual reality setup and professional equipment integration. It required precise coordination to ensure all technical elements were seamlessly integrated into the spatial logic.

Technology played a supporting but important role.

Audio systems, a projection screen and a virtual reality simulator were integrated as part of the experience without disrupting the overall spatial coherence.

Yes, the project was shaped through analysis.

We defined the target audience, understood who the space is created for and considered how it should function in terms of self-sustainability and maintenance.

One of the main challenges was logistics.

We needed to transport cars to the second floor of the museum. This required the urgent design and construction of an external cargo lift.

We simply decided to take the step.

It was based on the understanding that without trying, it is impossible to evaluate your level and potential.

This project provided experience working under very tight deadlines.

It involved coordinating a large number of specialists and working with a demanding client, requiring clear organization and fast decision-making.

No, the main aspects of the project have already been covered.

I studied in Ukraine, in the city of Lviv, at Lviv Polytechnic National University, at the Department of Design and Architecture.

This education gave me a strong technical and architectural foundation, but the real understanding of design came through practice. Working on real projects, dealing with constraints and bringing ideas to execution shaped my professional approach far more than theory alone.

I was motivated by a constant need to improve the space around me. From an early age, I felt that environments could be more logical, more comfortable and more precise.

Design became a natural continuation of this mindset. It was not a случайный выбор, but a consistent internal drive to create spaces that work better for people.

It was entirely my own decision. No one pushed me into this profession.

The decision came from a clear internal understanding that this is what I want to do. Design felt like a natural direction where my way of thinking could be applied in a meaningful and practical way.

I design private residential spaces, as well as complex projects where architecture and interior work together as a system.

I am most interested in projects where I can influence not only the visual result, but the structure of the space — planning, function and how it is experienced in real life. These are the projects where design has real impact.

Young designers should focus on building a strong foundation. Do not chase trends or try to impress visually.

Learn to work with space, function and logic. And most importantly — bring your projects to realization. Experience comes not from ideas, but from execution and responsibility for the result.

A good designer creates visually appealing solutions. A great designer creates systems that work in reality.

The difference lies in the ability to think beyond aesthetics — to understand function, execution and long-term value. Design is not about appearance, but about how the space performs over time.

A good design is one that works without explanation. It is logical, functional and feels natural in use.

I evaluate design based on spatial logic, proportions and how well it supports everyday scenarios. If the foundation is correct, the visual aspect becomes a natural result.

The value of good design lies in its long-term impact. It improves quality of life, creates комфорт and reduces unnecessary complexity in everyday use.

Investing in design is not about aesthetics — it is about creating a system that works efficiently and retains its value over time.

If I had more time, I would focus on projects that combine design and strategy — working not only with space, but with how it creates value.

I am particularly interested in developing concepts where design directly influences the financial and functional potential of real estate.

One of my dream projects is designing a superyacht.

It is a unique environment where space is extremely limited, and every decision must be precise. It combines architecture, engineering and design at the highest level, and requires a deep understanding of function, materials and ditails.

There is no secret ingredient. The key is consistency and precision.

Success in design comes from the ability to think systematically, take responsibility for decisions and bring ideas to execution without compromise.

I am inspired by designers who work with space as a system, not as decoration.

Among contemporary designers, I appreciate the approach of Roisin Lafferty — her work with materials, depth and atmosphere resonates with my own understanding of design.

I am not focused on specific projects as references.

What I value in other designers’ work is clarity of spatial logic, material honesty and the ability to create environments that remain relevant over time.

For me, the best design is not defined by appearance, but by how it works in reality.

The projects I value the most are those that are fully realized, where the idea is executed precisely and performs as intended. That is what makes a design truly strong.

To become better, designers need to shift focus from visuals to structure.

Learn to think in terms of function, planning and execution. And most importantly — gain real experience through implementation, not just concepts.

If I were not a designer, I would still work with real estate and spatial strategy.

I am interested not only in creating spaces, but in understanding how they function, perform and create value.

For me, design is a system.

It is not about decoration or form, but about creating environments that work — logically, functionally and over time.

My biggest support has been my husband and partner.

We have built everything together from the very beginning, and this foundation gives strength, stability and a shared vision in both life and work.

My biggest support has been my husband and partner.

We have built everything together from the very beginning, and this foundation gives strength, stability and a shared vision in both life and work.

The main challenges were responsibility and complexity.

Working with real budgets, real timelines and demanding clients forces you to grow quickly.

But these challenges are exactly what shape you as a professional.

Design should be presented through realized projects, not just visuals.

What matters is showing how the space works in reality — its logic, materials and execution.

We are focused on larger-scale and international projects.

At the same time, we are developing the direction of real estate strategy and analysis as a separate layer of our work.

My goal is to create spaces that retain value over time.

Not just visually, but functionally and strategically.

People expect clarity, precision and control over the result.

Not just ideas, but a system that leads to a predictable and high-quality outcome.

Design improves society when it creates environments that truly work.

Spaces influence how people live, think and interact — and good design makes this better.

Currently, I am focused on projects that combine design and real estate strategy.

As well as social projects, including rehabilitation spaces for veterans.

The greatest satisfaction comes from projects that are fully realized.

Where the idea is executed precisely and works exactly as intended.

I would change the focus from visual trends to real value.

Less decoration, more function, durability and long-term thinking.

The field will move towards system thinking and deeper understanding of space.

Less about trends, more about performance, sustainability and real impact.

The timeline depends on the complexity of the project.

What matters is not speed, but the precision of decisions and their correct execution.

Every project starts with analysis.

Understanding the space, the task and the constraints comes first — only then decisions follow.

Design must work.

Everything else is secondary.

Trends do not define design.

Good design defines its own relevance and remains valuable beyond trends.

Technology is a tool, not the foundation.

It supports precision, visualization and execution, but the core is always thinking and decision-making.

We use BIM modeling, 3D visualization and technical documentation tools.

However, the main tool remains the ability to analyze space and make precise decisions.

Color and materials are not decoration — they define the perception and longevity of space.

Natural materials and balanced palettes create depth and ensure relevance over time.

I would prefer people to ask how the space works, not how it looks.

That is where real design begins.

I always look for logic first.

If the idea is clear and the solution is precise, it immediately stands out.

I believe in collaboration, but within a clear structure.

An ideal partner understands responsibility, respects the process and works towards a shared result.

The biggest influence comes from real experience — clients, projects and execution.

Working with real constraints shapes your understanding far more than any external reference.

Books that influenced me include The Fountainhead and Atlas Shrugged by Ayn Rand.

Also The Chronicles of Amber by Roger Zelazny — I am drawn to the idea of multiple parallel worlds and layered realities.

Through real projects.

Practice, responsibility and working with execution shaped my skills far more than theory.

I would be interested in speaking with a historical figure at an early stage of their life — before their path was defined by destructive choices.

Someone who once had a creative ambition but took a completely different direction.

It would be important to understand whether creative potential, if supported at the right moment, could change the trajectory of a person — and possibly history itself.

Awards are recognition, but not the goal.

What matters is the quality of work and its real impact. Visibility is a byproduct, not a purpose.

Color — white.

Place — wherever my family is.

Food — coffee.

Season — spring.

Brand — Porsche.

It sounds like a joke, but on one project the tiles were delivered incorrectly three times in a row — wrong color or size each time.

Filing three claims for the same order is something I had never experienced before. By the third time, even the client and I were joking whether there would be a fourth.

A good day is when decisions are clear and the process moves forward without chaos.

Motivation comes from seeing progress and precise results.

It was not obvious, but the intention was always there.

From an early age, I tried to change the space around me without fully understanding why.

In the long term, only what is fundamental remains.

Trends disappear, but structure, logic and material truth stay relevant.

Design is not about creating images.

It is about building systems that work and retain value over time.

From an early age, I was intuitively drawn to transforming the space around me. I often questioned why certain environments felt illogical, uncomfortable or disconnected from the way people actually live. At that time, I could not explain it professionally, but I had a very clear feeling that space could work better — more precisely, more thoughtfully and more naturally. Choosing design was therefore not accidental for me. It became a continuation of this early desire to improve the environment around me. Today, design is both my profession and a source of deep personal satisfaction. I can see potential in raw concrete, unfinished walls and spaces that others may perceive only as disorder. For me, the future result already appears in proportions, light, materiality and atmosphere long before the project is completed. This ability to anticipate the final space is one of the foundations of my work.

Koshulynskyy & Mayer is a design studio operating at the intersection of architecture and interior design, where space is approached as a cohesive system. Founded in 2012, the studio has been built on a family foundation from the very beginning, which creates a deeper level of involvement in every project. We do not treat design as a purely visual discipline — it is a structured process that includes planning, function, materials and execution. Our work focuses on private projects that require a high level of precision and control during implementation. We aim to eliminate chaos, avoid unnecessary costs and ensure that the final result matches the original concept with accuracy.

For me, design is not about form or aesthetics as an end in itself. It is a system that shapes space and defines how it works for people. Design begins with logic — with an understanding of function, proportions, light and usage scenarios. Only after these foundations are established does the visual language emerge. I do not define my work through a specific style, but rather through a timeless approach based on natural materials and long-term relevance. Everything within the space must have a purpose. I avoid decorative elements without meaning and focus on creating environments that remain valuable and functional over time.

I cannot single out one specific type of project that I enjoy the most. For me, what matters is not the format of the object, but its potential and the complexity of the task. I am most engaged in projects that require working with the structure of space — rethinking layouts, improving functionality and creating a clear spatial logic. These are the situations where design has a real impact, not only on how a space looks, but on how it performs and supports everyday life. I am particularly interested in projects where I can control both the concept and its realization.

It is difficult for me to name a single favorite project, as each one addresses different challenges and exists within its own context. However, if I am honest, at this moment my closest project is my own home — a space designed entirely for myself. Working on it was a unique experience, because I am a very demanding client. It required constant decision-making and a high level of self-criticism, but it also allowed complete freedom in shaping the space. This project reflects my approach in the purest form, where every element has a clear function and meaning, and nothing exists without purpose.

I remember that project very clearly, as it became a turning point for me. At that time, I had to make a choice — to attend my postgraduate entrance exam or to meet a client who was only available on the same day. I chose the meeting. That decision defined my path forward. The project was successfully realized and became the first large-scale project of my studio. It taught me that real experience comes not from theory, but from responsibility, risk and the ability to deliver results under pressure.

I do not attach myself to a single material or technology, as each project requires its own solution. However, I am consistently drawn to natural materials — stone, wood and metal. They carry depth, texture and the ability to evolve over time without losing their value. For me, materials are not decorative elements, but structural components of the space. They define how the environment feels, ages and performs in everyday use.

I do not associate creativity with a specific moment. For me, it appears when there is a clear understanding of the task and its constraints. Creativity is not a spontaneous action, but a result of analysis and structure. The most precise ideas emerge during the process, once the logic of the space begins to take shape. It is in that moment — when function, proportions and movement align — that the design becomes clear.

I focus primarily on spatial planning, proportions and function. These elements form the foundation of the space and determine how it will be used and experienced. The visual aspect is not the starting point — it emerges as a result of a well-structured system. If the foundation is correct, the aesthetics naturally follow. If not, no visual solution can compensate for it.

It is a combination of focus and responsibility for the outcome. Designing requires constant decision-making and the ability to maintain clarity throughout the process. There is no room for randomness — every element must be intentional. Satisfaction comes when the solution is precise and performs exactly as intended, without the need for further correction.

The greatest satisfaction comes when the space is realized exactly as it was intended. At that moment, the project moves from concept to reality without losing its integrity. It feels close to euphoria, but it is grounded in the precision of the result. This is where the real value of design is revealed — not in the idea, but in its execution.

A successful design is one that works. It is logical, functional and does not require explanation. A well-designed space naturally supports everyday use and feels intuitive to the user. For me, success is not defined by visual impact alone, but by how the space performs over time. It must retain its value after completion, both functionally and materially, without becoming dependent on trends or superficial solutions.

I first evaluate the logic of the space and its function. These are the fundamental aspects that determine whether a design is valid. If the foundation is correct — if the planning, proportions and movement are resolved properly — the visual aspect will work naturally. If not, no aesthetic solution can compensate for it. Design must be structurally sound before it can be visually convincing.

A designer is responsible for shaping the environment in which people live and interact. This responsibility goes beyond aesthetics and includes long-term impact. It requires rational use of resources, thoughtful planning and working with durable, honest materials. A well-designed space should not only solve immediate needs, but remain relevant and functional over time. In this sense, design directly influences quality of life and sustainability.

The design field is moving towards greater awareness and system-based thinking. There is a visible shift away from trend-driven solutions towards function, durability and long-term value. Design is becoming more about responsibility — understanding how decisions affect space over time, rather than creating temporary visual effects. The future of design lies in clarity, precision and the ability to create spaces that remain meaningful beyond a specific moment.

I do not focus on exhibitions as a separate direction. My primary focus is on realized projects and their real impact. For me, the value of design is revealed through execution, not presentation. Completed spaces that function correctly and maintain their quality over time are more important than temporary exposure.

My inspiration does not come from specific sources, but from analyzing space, architecture and materials. It is based on observation, experience and understanding rather than searching for references. I do not collect ideas from external sources, but instead focus on how space behaves, how light interacts with surfaces and how materials age. This process allows me to develop solutions that are grounded and precise rather than stylistic.

I do not define my work through a specific style. I strongly advocate for a timeless approach to design and the use of natural materials. For me, it is essential that a space is not dependent on passing trends and remains relevant over time. My approach is based on architectural logic, proportions and function. Every element within the space must have a clear purpose. I avoid decorative solutions that do not carry meaning and focus on creating environments that work precisely and maintain their value over time.

I live and work in Ukraine, and this context comes with its own specifics. Unlike countries with a strong design heritage, such as Italy, where tradition plays a key role in shaping global design direction, in my country design is more influenced by global shifts and changes on the international stage. This environment requires flexibility and the ability to work under varying conditions. That is why I base my work on natural materials and long-term durability. I aim to create spaces that remain relevant regardless of trends — similar to timeless objects that retain their value over time.

We work with companies as partners within a unified process. Clear structure, defined roles, transparent communication and control at every stage — from concept to execution — are essential. This approach allows us to avoid chaos, maintain the logic of the project and ensure that the final result is delivered with precision. For us, collaboration is not about delegation, but about shared responsibility for the outcome.

Companies should evaluate not only the visual aspect, but the designer’s approach to work. A good designer is not the one who creates beautiful images, but the one who thinks systematically, works with function and understands the execution process. It is important to review realized projects, the level of detailing and the ability to bring an idea to a completed result. The value of design is revealed in implementation, not in presentation.

My design process is built as a structured system. It begins with analyzing the space and the task — planning, function and usage scenarios. From there, the spatial logic is developed, and only then the visual layer is introduced. Every decision is tested against real-world execution. It is important for me that the project is not only visually precise, but can be implemented without losing quality. This approach allows for control over the outcome and ensures a predictable and accurate result.

I collect contemporary art, so my favorite objects at home are closely tied to emotion and materiality. These include a painting by Lesia Panchyshyn and a work by Voznytskyi titled “Rebirth”. I also value my kitchen island, which is supported by a randomly found marble stone. Among the details I enjoy every day are the eucalyptus kitchen fronts and a marble washbasin in the bathroom. I do not see these objects as decoration — they shape the space and the everyday living experience.

My day starts at 6 a.m., when my baby wakes up. It begins with coffee and real time with my child and husband. That moment sets the tone for the entire day and creates a clear emotional starting point. After that, the working process begins — projects, decisions, communication with the team and clients. It is an intensive and structured rhythm that requires focus and fast decision-making. I do not separate the day into inspiration and work — it is one continuous process. In the evening, I try to return to simple things — home, family and a sense of quiet that allows me to reset and prepare for the next day.

Do not start with the visual aspect. Learn to work with function, planning and spatial logic first. Without this, design has no foundation. It is also important to understand that real knowledge comes through implementation. Bring your projects to realization, because this is where you begin to understand responsibility, materials and execution. Design is not about creating images, but about creating systems that work in real life.

The advantage is the ability to create environments that truly impact people’s lives. Design has the power to shape how people feel, live and interact with space. The challenge is the responsibility for every decision and the complexity of execution control. Every choice affects the final result, and maintaining quality through the entire process requires discipline and precision. It is a profession where the result is always tested by reality.

Design must work. This is the core principle I follow in every project. If the space does not function properly, no aesthetics can compensate for it. A well-designed environment should feel natural, intuitive and effortless in use. Only when function is resolved can the visual aspect have real value.

System thinking, attention to detail and decision-making are essential skills for a designer. It is important to understand how different elements of a space interact and form a cohesive system. In addition, a designer must understand execution, not just create ideas. Without knowledge of materials, construction and implementation, design remains incomplete.

I use tools as a means, not as the foundation of design. In practice, this includes BIM modeling, 3D visualization and technical documentation. However, the main tool remains thinking — the ability to analyze space, understand constraints and make precise decisions. Software supports the process, but it does not define it. The quality of the result depends on the logic behind the decisions.

I manage time through structure and clearly defined stages. A well-organized process allows me to control the workflow and avoid unnecessary revisions. Each phase of the project has its own logic and sequence, which helps maintain clarity and efficiency. Time management in design is not about speed, but about accuracy and consistency in decision-making.

The timeline depends on the complexity and scale of the project. Each object has its own conditions, constraints and level of detail. What matters for me is not speed, but the precision of decisions and their proper execution. A well-structured process allows the project to move efficiently without losing quality. The goal is not to finish faster, but to deliver a result that works correctly and remains valuable over time.

The most common questions are about timeline and budget. However, in my view, the more important question should not be “how much does it cost”, but “how will it be executed”. Cost and timing are variables, but the quality of execution defines the real outcome. A project can look good on paper, but without proper implementation it loses its value. That is why I always shift the focus from numbers to process and control.

The most important experience comes from fully realized projects. Execution is what builds a real understanding of process, responsibility and precision. I would also highlight a private residence project of approximately 2000 m², which was completed in just 1 year and 3 months — from the start of excavation works to the final placement of interior decor. It was an extremely demanding process that required constant coordination, fast decision-making and control over a large number of specialists. It was exhausting, but it became one of the most valuable professional experiences.

Our clients include private individuals, entrepreneurs and people who value a system-based approach to space. We work with those who understand that design is not only about visual results, but about structure, logic and execution. Our clients are involved in the process and appreciate precision, clarity and long-term value in the final outcome.

I am most interested in projects that involve working with the structure of space. Where design affects not only appearance, but how the environment functions. These projects require deeper analysis and allow for meaningful impact.

The next step is scaling our approach and working on larger and international projects. We are also developing the direction of real estate strategy and analysis, focusing on how design can increase the value and efficiency of properties. The goal is to combine design and strategy into a single system that delivers measurable results.

I work within a team, but the key decisions are made by me. This ensures consistency and control over the project at every stage. A structured team allows for efficiency, but a clear vision and responsibility for decisions must remain centralized in order to achieve a precise result.

We are constantly working on new projects across different scales and contexts. However, I prefer to speak about them after they are fully realized. This is the moment when a project gains its real value — when the idea has been tested through execution and becomes a complete environment. Until then, it remains a process rather than a result.

You can contact us through our website or social media platforms. These channels allow us to understand the project, establish initial communication and define the next steps. For us, the first contact is not just an introduction, but the beginning of a structured collaboration.

I would only add that design should be understood not as a visual service, but as a system that delivers a result. The real value of design is revealed not in presentation, but in execution — in how precisely the space works, how it feels over time and how it supports everyday life

For us, “architectural silence” did not mean the absence of architecture. It was a very deliberate architectural position: to create a space that does not compete with the cars, but allows the viewer to see them with greater attention.The Vik Cars Automobile Museum collection includes 32 automobiles, each with its own scale, color, character, history, and technical language. If the interior had tried to speak too loudly, it would have immediately disturbed this balance. That is why we worked with the idea of restrained presence: clear geometry, a dark background, controlled lighting, simple circulation routes, and a very limited number of expressive gestures.The spatial grammar of the museum is not based on a strict chronology. It is based on the dialogue between the cars. Some exhibits are perceived almost as sculptures, others as fragments of a particular era or personal story. Our role was to give these objects enough air, light, and distance.In this sense, the space feels both disciplined and expressive. Its expressiveness does not come from decoration, but from the way it structures attention.

We did not want to create the museum as a sequence of closed rooms or isolated scenes. For a private automobile collection, that would have felt too static. Cars are objects of movement, even when they are standing still. It was important for us to preserve a sense of route, changing perspective, and gradual discovery within the space.The open-plan layout allowed us to work not with walls, but with distances, light, and sightlines. A visitor can see several cars at once, but each of them still has its own area of attention. This creates a more dynamic experience: the viewer does not simply move from one exhibit to another, but constantly reads the relationships between them.The non-linear structure also helped us avoid the feeling of a museum “instruction.” We do not force the visitor to follow one correct path. Instead, the space supports different scenarios: a quick overview, a detailed study, photography, an event, a presentation, or a private viewing.We believe this flexibility is important for the future of privately held cultural collections. They should not only be places of preservation, but living spaces capable of supporting different forms of interaction.

Light became the main architectural instrument of this project. In an automobile museum, lighting cannot be only a technical function. It has to reveal the body shape, the depth of color, the chrome details, and the proportions of each car, while avoiding visual noise.We worked very closely with the lighting team because several tasks had to be combined within one system. The linear LED profiles form the overall spatial structure and establish rhythm. Accent lighting works with each car individually. Ambient lighting creates depth and prevents the space from feeling flat.The more than 500 meters of bespoke linear LED profiles were not simply a technical quantity. They became a way to define the architectural identity of the museum. Light was not added to the interior afterward; it became one of its structural languages.One of the key challenges was the psychology of rhythm. Too much light quickly tires the visitor. Too little light causes the loss of detail and reduces the quality of perception. We were looking for a balance between precision, comfort, and a certain dramaturgy without theatrical excess, but with a clear sense of focus.

For us, this award is important not only as professional recognition, but also as confirmation that a private initiative can create a meaningful cultural space. The Vik Cars Automobile Museum began as a private collection, but throughout the design process we treated it as a public environment, a place where people can encounter the history of technology, design, and time.We find it important that projects like this expand the definition of a museum. It does not always have to be a large state institution with a classical typology. It can also be a flexible, contemporary, well-designed space built around the personal passion of a collector, yet open to a broader audience.In this project, design was not an end in itself. Its purpose was to make the collection clear, accessible, and emotionally readable. Architecture works here as a mediator between the exhibit and the visitor.In a broader sense, this is also a conversation about heritage preservation. Not only through the restoration of individual objects, but through the creation of environments where these objects can continue to live, be seen, and be understood.

A 60-day construction period for a 1,500-square-meter space is a very demanding timeline, especially considering the technical requirements of housing a full automobile collection. Under these conditions, the most important decision was not to overcomplicate the system.From the beginning, we established a clear hierarchy: what was essential to the concept, and what could be solved more rationally. The essential elements were the planning, circulation logic, structural and technical preparation, lighting, the background for the exhibits, and the quality of the main materials. Everything else had to support these decisions.The second key factor was the parallel work of the teams. Design, technical coordination, production of individual elements, and construction could not happen one after another. They had to happen simultaneously, with constant decision-making and control on site.A restrained material palette also helped. It allowed us to preserve the integrity of the space and avoid losing time on unnecessary decorative details.In the end, this pressure shaped the character of the museum. The space became focused, precise, and quite honest. There are no random decisions in it, partly because there was simply no time for randomness.

The idea of creating a scenography for cars came from the understanding that this collection could not be presented as a conventional set of exhibits. A car has a very strong physical presence: its silhouette, reflections, body line, and engineering details. We needed to create a space where these qualities could be read gradually, through the movement of the visitor.We did not try to literally recreate the atmosphere of the golden era of automotive design. Instead, we took from it a sense of movement, precision, and respect for the object. The spatial layout is therefore built as a sequence of discoveries: from different points, the cars are perceived differently; their scale, silhouette, and relationship with neighboring exhibits constantly change.Light works here as a directing tool. It does not simply illuminate the cars. It structures the rhythm of the route, creates pauses, sets accents, and helps the viewer shift attention. As a result, the visitor does not move through the museum in a purely linear way, but through a series of visual situations.For us, this is what we mean by “cinematic dialogue”: not spectacle for its own sake, but a controlled interaction between the person, the space, and the exhibit.

The Vik Cars Automobile Museum is important to us because it is not limited to a single function. It is not only a museum and not only a private collection. It is a space that can operate as an exhibition, an event venue, a simulator zone, a retro-gaming experience, a lounge, and an environment for informal communication.This format changes the approach to museum design. We are no longer designing only a viewing route. We are designing different scenarios of presence: a person may come to see the cars, spend more time in the interactive zone, listen to vinyl, attend a presentation, or simply experience the atmosphere of the space.For the studio, this project became an important experience in working with a cultural function that is not static. It confirmed that a contemporary private museum can be flexible while still maintaining discipline and visual integrity.In future cultural and exhibition projects, we will certainly continue developing this approach: a space should not only display objects, but also create conditions for different levels of interaction with them.

For Koshulynskyy & Mayer, working with context has always been essential. We do not see modernity and tradition as opposites. We are interested in how history, material, craft, technology, and new ways of living can exist within one space without conflict.In the Vik Cars Automobile Museum, this approach is expressed through the subject of the project itself. Historic automobiles are not only machines. They are objects of culture, design, engineering thought, and a particular time. Our task was not to stylize the space as something from the past, but to create a contemporary architectural frame in which the past can be seen clearly and without unnecessary decoration.The fact that the project was created in Lviv by a Ukrainian studio and received international recognition has a particular meaning for us. It shows that Ukrainian design can be present in the global professional conversation not through exoticism or a purely local accent, but through the quality of thinking, precision of execution, and the ability to work with complex cultural themes.We see this award as recognition not only for one project, but also as part of the broader visibility of contemporary Ukrainian architecture today.

The acoustic panels with parametric patterns were not introduced as a decorative gesture, but as a response to a real task. A large open space with hard surfaces, automobiles, events, and visitors required acoustic control. Without it, the museum could have been visually strong but physically uncomfortable.It was important for us that the technical solution did not feel accidental. The acoustic panels therefore became part of the architectural language. The perforation gives depth to the surfaces, creates rhythm, and at the same time preserves the overall restraint of the space.The parametric aspect is not about complexity for its own sake. It allowed us to combine function, scale, and visual movement. Within the minimalist shell of the museum, these panels work as a subtle layer of detail noticeable at close range, but not aggressive in the overall perception.For us, this reflects an important principle: architecture is not perceived only through the eyes. Sound, light, distance, material, and even the level of silence shape the experience just as strongly as form

The individual lighting of each automobile was one of the most important tools in the project. In a large open-plan space, it is easy to lose scale and focus. We needed each car to have its own area of attention while still remaining part of a coherent collection.We approached every exhibit as an individual object. We considered its height, silhouette, color, surface character, chrome details, glass angles, and body proportions. Different eras of automotive design require different light: some cars are best revealed through soft grazing light, while others need a more precise accent on a line or detail.At the same time, it was important not to create isolated “capsules.” The lighting had to emphasize the individuality of each automobile without breaking the overall space. We were constantly balancing between local focus and the general atmosphere of the museum.This approach also reveals something about human attention in architecture. We do not perceive space all at once. We move from one focus to another, read details, compare forms, and return with our eyes. Light helps organize this process naturally, without the need for additional explanation.