Bureau: Designic
Ph: Iwan Baan
Geo: SPB, RU
Geo: Naoshima, JP
The occasion for the interview was a conversation about the M+ museum in Hong Kong, and it’s interesting that Anya was in Japan at the time — the geographical coincidence seemed to set the tone for our discussion: from differences in Western and Eastern visual culture, we quickly moved to much broader topics.
What makes a space alive? Why is art important not only in museums but also in offices? How do you design from emotion rather than function? We discussed this with Anya — a designer, collector, and creator of projects where contemporary art becomes an integral part of the environment.
My dream is to work with spaces where the emotions from art are more important than function.
G:Anya, tell us about what you do.
A: I’m the founder and creative director of DESIGNIC studio. My team and I work on public and business interiors, designing offices, coworking spaces, and even schools. In short, we create ideal environments in workspaces where we spend most of our lives. By the way, this is a highly underrated segment in terms of human comfort. Our mission is to transform business and public spaces into inspiring and functional environments.
G: You also mentioned that you collect art.
A: Yes, that’s probably my second passion. I started long ago — before it became trendy. Through building my own collection, I developed a special interest in contemporary art museums — not just as places for exhibits but as environments that interact with people.
G: One of the design approaches you advocate for is designing from art. How does that work?
A: It all started with a precedent. We had a client — a large logistics company. We began designing the first floor and saw they were open to unconventional solutions. Then came the second, third… By the fourth, as we delved deeper into the client’s inner world, we proposed integrating the owner’s personal art collection into the interior. We studied the art pieces, figured out where to place key works to create that initial “wow” effect. Only then did we start planning the office itself — meeting rooms, workstations, and so on.
G: So, from emotion?
A: Exactly. Emotion comes first, function follows. This doesn’t mean the interior becomes impractical. It means it’s adapted to real life based on different principles. We even added QR codes next to the artworks — employees started scanning them, reading about the artists, and discussing. It created energy, communication. Art became part of the environment. It’s not just decor; it’s something more — art motivates people for internal dialogue, sparking motivation and ambition, as well as collaboration and successful teamwork.
G: Is this a one-off case or a regular practice?
A: We’re gradually teaching clients. I sometimes show at presentations: this is how a space will look if you add original art. It doesn’t have to be expensive — just authentic and alive. That’s how character emerges.
G: How are things with corporate collections in Russia?
A: They’re almost nonexistent. Everything is still in private hands. In the West, it’s been a corporate norm for a long time. Banks, insurance companies, large corporations — they all have impressive collections. Art is part of a company’s image, reflecting its level of development and values. It’s a two-way process: we educate some clients, introducing them to the world of art, while others choose us because they already share this value in their corporate culture — we speak the same language.
G: Anya, how does your team react to new artworks in your office?
A: Their reaction is a joy in itself. At first, they didn’t understand why it was needed. But then discussions started: who’s the artist, where’s the piece from, what does it mean? Some laugh, some debate. That’s when visual literacy is born. People stop fearing the unfamiliar. They start engaging in a dialogue with art. And that, essentially, is the goal.
G: Anya, you mentioned Japan as the strongest point of attraction in the world of contemporary art. What exactly struck you there?
A: Naoshima Island. I went there specifically for a few days. It’s been entirely transformed through art — museums designed by Tadao Ando, a dedicated museum space for a single Monet painting. You walk barefoot into a concrete building with natural light, where just one piece hangs — and the energy it radiates makes you stand in silence.
G: Sounds like meditation.
A: Exactly. No shock value. It’s not about “snap a photo and forget.” It’s about staying in the moment. And if you live near the museum, you can go at night in your pajamas to see works like Cy Twombly’s. I’ve never felt anything like it elsewhere.
G: You said architecture in such spaces is secondary. Is this a broader trend?
A: Yes. Interiors are fading into the background now. White walls, wood, concrete — everything is designed to let the art speak. You feel it in the West too. For example, in Zurich’s Kunsthaus, there was a Marina Abramović exhibition. I went with my mom, and we argued, can you imagine? She couldn’t see it as art. But I stood there, feeling: this is powerful, it’s pain, it’s the body, it’s history. Abramović’s intense performances in restrained interiors — anything more would’ve been too much.
G: Do you feel the East is starting to influence the world?
A: Absolutely. The West has somewhat exhausted itself. We’re turning to the East — to minimalism, to silence, to authenticity. Even exhibitions in Basel — the focus has shifted to Iran, Southeast Asia. That’s where the new energy is coming from.
P.S. While preparing this text, I tried to pinpoint what sets a contemporary art museum apart from a classical one. Talking with Anya only reinforced the sense that “contemporary” isn’t about the era but about dialogue, emotion, and experience. I think it’s time to test this with Bryullov’s work. Soon.
@gorkjournal
Ph: Iwan Baan
Geo: SPB, RU
Geo: Naoshima, JP
The occasion for the interview was a conversation about the M+ museum in Hong Kong, and it’s interesting that Anya was in Japan at the time — the geographical coincidence seemed to set the tone for our discussion: from differences in Western and Eastern visual culture, we quickly moved to much broader topics.
What makes a space alive? Why is art important not only in museums but also in offices? How do you design from emotion rather than function? We discussed this with Anya — a designer, collector, and creator of projects where contemporary art becomes an integral part of the environment.
My dream is to work with spaces where the emotions from art are more important than function.
G:Anya, tell us about what you do.
A: I’m the founder and creative director of DESIGNIC studio. My team and I work on public and business interiors, designing offices, coworking spaces, and even schools. In short, we create ideal environments in workspaces where we spend most of our lives. By the way, this is a highly underrated segment in terms of human comfort. Our mission is to transform business and public spaces into inspiring and functional environments.
G: You also mentioned that you collect art.
A: Yes, that’s probably my second passion. I started long ago — before it became trendy. Through building my own collection, I developed a special interest in contemporary art museums — not just as places for exhibits but as environments that interact with people.
G: One of the design approaches you advocate for is designing from art. How does that work?
A: It all started with a precedent. We had a client — a large logistics company. We began designing the first floor and saw they were open to unconventional solutions. Then came the second, third… By the fourth, as we delved deeper into the client’s inner world, we proposed integrating the owner’s personal art collection into the interior. We studied the art pieces, figured out where to place key works to create that initial “wow” effect. Only then did we start planning the office itself — meeting rooms, workstations, and so on.
G: So, from emotion?
A: Exactly. Emotion comes first, function follows. This doesn’t mean the interior becomes impractical. It means it’s adapted to real life based on different principles. We even added QR codes next to the artworks — employees started scanning them, reading about the artists, and discussing. It created energy, communication. Art became part of the environment. It’s not just decor; it’s something more — art motivates people for internal dialogue, sparking motivation and ambition, as well as collaboration and successful teamwork.
G: Is this a one-off case or a regular practice?
A: We’re gradually teaching clients. I sometimes show at presentations: this is how a space will look if you add original art. It doesn’t have to be expensive — just authentic and alive. That’s how character emerges.
G: How are things with corporate collections in Russia?
A: They’re almost nonexistent. Everything is still in private hands. In the West, it’s been a corporate norm for a long time. Banks, insurance companies, large corporations — they all have impressive collections. Art is part of a company’s image, reflecting its level of development and values. It’s a two-way process: we educate some clients, introducing them to the world of art, while others choose us because they already share this value in their corporate culture — we speak the same language.
G: Anya, how does your team react to new artworks in your office?
A: Their reaction is a joy in itself. At first, they didn’t understand why it was needed. But then discussions started: who’s the artist, where’s the piece from, what does it mean? Some laugh, some debate. That’s when visual literacy is born. People stop fearing the unfamiliar. They start engaging in a dialogue with art. And that, essentially, is the goal.
G: Anya, you mentioned Japan as the strongest point of attraction in the world of contemporary art. What exactly struck you there?
A: Naoshima Island. I went there specifically for a few days. It’s been entirely transformed through art — museums designed by Tadao Ando, a dedicated museum space for a single Monet painting. You walk barefoot into a concrete building with natural light, where just one piece hangs — and the energy it radiates makes you stand in silence.
G: Sounds like meditation.
A: Exactly. No shock value. It’s not about “snap a photo and forget.” It’s about staying in the moment. And if you live near the museum, you can go at night in your pajamas to see works like Cy Twombly’s. I’ve never felt anything like it elsewhere.
G: You said architecture in such spaces is secondary. Is this a broader trend?
A: Yes. Interiors are fading into the background now. White walls, wood, concrete — everything is designed to let the art speak. You feel it in the West too. For example, in Zurich’s Kunsthaus, there was a Marina Abramović exhibition. I went with my mom, and we argued, can you imagine? She couldn’t see it as art. But I stood there, feeling: this is powerful, it’s pain, it’s the body, it’s history. Abramović’s intense performances in restrained interiors — anything more would’ve been too much.
G: Do you feel the East is starting to influence the world?
A: Absolutely. The West has somewhat exhausted itself. We’re turning to the East — to minimalism, to silence, to authenticity. Even exhibitions in Basel — the focus has shifted to Iran, Southeast Asia. That’s where the new energy is coming from.
P.S. While preparing this text, I tried to pinpoint what sets a contemporary art museum apart from a classical one. Talking with Anya only reinforced the sense that “contemporary” isn’t about the era but about dialogue, emotion, and experience. I think it’s time to test this with Bryullov’s work. Soon.
@gorkjournal