បទសម្ភាសន៍ជាមួយ Grigorii Gorkovenko

Creating a resonance of visual image and actual implementation. The goal was to create soft, airy forms, but to show them through a completely different, seemingly unsuitable, yet alive and flexible material.

To combine the incompatible, to unite the cold and the hot. The goal was to create a visually soft chair out of a hard material, to give the cold metal an airy, ethereal shape. We argued for a long time about what material BUBBLE would be made of, and we settled on aluminum, because this metal has plasticity, relatively light weight, the right moderately ridged satined texture, which properly conveys the properties of materials and

handmade features.

We want to present it at an international exhibition and then in a gallery. It was important for me to get feedback on the project in such a prestigious competition as the A'DESIGN Award.

BUBBLE itself was conceived in my head very quickly. But when my team and I began to think about the process of implementation, then it really started getting interesting; we had to work both on the image and the choice of material for its exact implementation simultaneously.

It was an emotion that I translated into a drawing, and the drawing turned into an object. In the process of implementing it, the emotion only got deeper.

This is a unique object that will not go into mass production; we will produce it piece by piece in our own factory.

The desire to work with brutal and rough material in large volumes and experience its effect on human perception.

It was a great surprise to me that after the presentation of the Bubble, a great many people compared it to Jeff Koons, it was a great surprise and an honor for me.

A sophisticated man, the owner of a large house with a voluminous living room with space allocated for an unconventional object d'art.

As a rule, this kind of design and forms are usually constructed out of more pliable and soft materials, but we wanted to play with contrasts, so we chose metal.

Bubble represents something airy, soft, plush and flexible.

We combined a sketch design with the work of foundry masters and product

design engineers who helped bring the idea to life.

Despite its appearance, it is a hand-made product, and it took craftsmen a year to produce it.

Foundry masters

Product design engineers

A strange classic foundry technology was used. Thus paying tribute to tradition in a new modern interpretation.

Every designer in the process of creation is always on the lookout for shapes and processes a huge amount of information; only through constant search you can come up with the perfect shape for you.

The big challenge for us in the production of the chair was the design features of the object and their influence on the casting technology.

I felt this object was worthy of attention and wanted to get feedback from the global design community.

I realized that it is possible to look at the everyday perception of the material from a different angle, and to influence people's impressions and emotions.

It's important to understand and know who to share your creativity and ideas with in order to be heard and seen, such as participating in A'design award competition.

I was born in a family of architects and from a young age dreamed of implementing my ideas and

fantasies tied to architecture, design and forms.

I had this desire to influence people and the world around me by using space, shapes, textures

and dimensions. To create contextually relevant atmosphere (make it warmer where it's needed,

and make it cooler where it's too warm).

No, I didn't always want to be a designer, I'm an architect and I always dreamed of being an

architect. But the more I delve into creativity, the more I realize that design, architecture and object

design are one and the same.

I founded the architecture and design company RIM in 2012 as a student. After 6 years, I opened a

line of object design and production of furniture, décor, and lighting.

The combination of the two fields of object and interior design makes it possible to create the best

conceptual and unique interiors. And makes the journey from the most fantastic idea to its

implementation as short as possible.

Design for me represents air, freedom and honesty about myself and the world I live in.

What I enjoy most is designing large spaces, where we create huge installations and tiny objects

both, and together they affect the space.

One of the products most dear to our hearts is SHURA, a reinterpreted image of the Russian

matryoshka doll. It has virtually become the signature of each of our projects.

It was an office space. At the time, I had been inspired by Zaha Hadid. And the space came

together in a very futuristic style.

My favorite material is ceramic. It allows you to realize majority of the most complex forms. While

maintaining its lightness and smoothness. And being visually expensive at an affordable price.

When I am trusted. When I am trusted to design large spaces, I feel like a composer writing a

symphony to create the right mood.

I am convinced that functionality is not the first priority in design. Emotion always comes first,

functionality follows after.

"You are unlikely to smile when you sit in a comfortable chair or put flowers in a handy vase. But

you will certainly smile when you see and touch a quaint and bright object."

I feel a sense of responsibility and genuineness.

I feel like I'm on the right track. And that it's time to set higher goals, riskier challenges.

Successful design to me means the energy that flows from the creator to the user.

There is no good and bad design, no right and wrong. There are different views of different people

about different things. They either align. Or they don't.

Design is an echo of the problems of the earth.

The design drifts into simplicity, into a simpler image, but with more meaning and implications.

The last exhibition was held in Vladivostok at Vladivostok Design Week. We plan to have

exhibitions in Moscow, Milan and Miami. We love cities starting with the letter M :)

I draw inspiration from greatest names in design, music and art in general.

Here it's about Serious fun.

I live in the Far East of Russia, in the city of Khabarovsk. Of course, my style was influenced by the

country's heritage. This can be seen in my products. I reinterpret and modernize traditional Slavic

imagery in my design.

With respect for their goals and objectives, but with the understanding that those goals and

objectives will go through my design filter.

Rely on his history and knowledge, his experience, his imagination, and his willingness to take

risks. His ability to listen to others and himself and to negotiate with himself.

The design process is always chaotic, consisting of endless sketches, spontaneous meetings to

discuss a new idea and its immediate implementation before it evaporates or gets used by

someone else.

— Moooi monster chair

— wall cover by Jaime Hayon

— Richard Repper's coffee maker

— First SHURA made by GORKOVENKO design

— Mom's rarity vintage samovar

Each of my days consists of:

Sketching

Visiting production shops

Brainstorming with the team

Zoom conferences with clients, solving current problems

Sports

Meditation

Dream

Fall and rise, dream again, and make your dreams come true

Pros - you can create the world around you, be in tune with yourself, be ahead of time, constantly

fantasize and work with interesting people and projects.

Cons - design consumes all your time, you fall asleep and wake up thinking about your work, and

always have to be prepared that you won't be listened to.

My golden rule is that design should be surprising and make you smile and motivate you to think.

Developing your own style

Goal setting

Discipline and moderate dedication

Computer software (3D max, Adobe Photoshop)

I always have a sketchbook with me

I draw inspiration from honest art in all its manifestations

For me it's regulated chaos, sometimes I feel like I'm juggling a lot of tasks and goals.

Amidst this chaos, it's important to make time for what you truly enjoy, to keep surprising yourself.

Design is like a flash, so as soon as you feel it, you try to start the process from sketching to

implementation as quickly as possible.

Of course, it all depends on the scale, materials and technological uniqueness. The fastest process

took a month from sketching to making the first prototype.

Don't laugh, but more often than not I get asked what I smoke/use to come up with these designs.

There was one very complicated challenge when we needed to create a series of 18 meter

sculptures for a shopping mall. We had to solve a number of issues related to the size and weight

of the sculptures, their height of 16 meters and a very short time frame for implementation.

Our client is a sophisticated person, a collector. He is in search of an unusual design and wants

new emotions.

We work both with private interiors and huge commercial spaces, and our style is evident in both

cases.

I like to create big projects where I can construct my own world and design everything from small

details to huge installations; that's when I can achieve my goal and have the necessary impact on

people's emotions and feelings.

My future plans are to go global, my goal is to participate in the world's largest design-related

events.

To create projects and spaces for big brands.

We have a team of professionals, led by studio leader Grigory Gorkovenko, which is why we can

produce such different objects and such different products.

Of course a lot of projects are in the works, but we'll wait for the final result before talking about

them.

https://gorko-venko.com/, https://www.instagram.com/gorkovenko_design/, zakaz@gorko-venko.com