Interview with Kristian Ruden

Kristian Ruden ("KR") interviewed on Thursday, 8 May.

Could you please tell us about your experience as a designer, artist, architect or creator?

KR : I’ve been professionally active in design for around 7 to 10 years. I currently work as a design engineer for a retail furniture company, Moris Design, where I focus on blending functionality with manufacturability. Along the way, I’ve also worked freelance—licensing my own designs and collaborating with clients on various product development projects. I’ve had the chance to win a couple of design competitions, which helped me connect with new clients and build credibility. Over the years, I’ve worn many hats—from hands-on prototyping to CAD modeling to design strategy—and I think that range of experience helped me grow into a well-rounded designer.

How did you become a designer?

KR : Looking back, I think it was a natural evolution. As a kid, I used to draw cars, buildings, and spaceships—and since architects were more popularized and romanticized in movies, I thought that’s who I wanted to be. So, in high school, I studied architecture. But it was my part-time job at an office design company that opened my eyes to industrial design. I became fascinated by the way objects around us are shaped—how they work, feel, and look. That led me to apply to the Czech Technical University, Faculty of Architecture, where I focused on industrial design. Already in my second semester, I started working for Sathea Vision, a local street lighting company, where I was designing products, learning how things are manufactured, and understanding how design fits into business. That job gave me a huge amount of insight and confirmed that this is what I wanted to do. I’ve always had an internal drive not just to make things—but to make them better. Smarter, more beautiful, more lasting. That’s what made me a designer.

What are your priorities, technique and style when designing?

KR : These days, I’m most passionate about designing products that are made to last—timeless pieces crafted from quality materials with real attention to detail. It might sound like a luxury, but I believe longevity and craftsmanship are among the most sustainable values in design. When I begin a project, I always aim to strike a balance between usefulness, manufacturability, and beauty. I know beauty is subjective, but I’m drawn to elegant geometry—splines, parabolic curves, hyperboloids… lines that stretch toward infinity. They carry a calm, mathematical poetry that I try to weave into my designs. I usually start sketching by hand—with a vintage Koh-i-Noor Versatil pencil and a stack of plain paper. But my favorite part of the process happens in virtual reality. I use a Meta Quest 3 and Gravity Sketch to model ideas in 1:1 scale. It's intuitive, immersive, and has completely replaced traditional clay modeling for me. Where clay used to let me explore forms physically, VR now gives me that same tactile freedom—with far more flexibility and speed. It feels like sculpting in space, and it’s become my go-to for early concept work. As the design takes shape, I transition to CAD tools like Rhino and Inventor for precision modeling. From there, I prototype—often starting with quick 3D prints to test ideas, and then building full-scale mockups when needed, sometimes even carving foam to check proportions and ergonomics. Every step is about bringing the concept closer to reality—refining, rethinking, and shaping it until it feels just right.

Which emotions do you feel when designing?

KR : For me, design is both a journey and a destination. I genuinely enjoy every stage of the process—each one brings a different kind of excitement. I love the early rush of sketching quick concepts, the meditative precision of refining details, and even the technical challenges of preparing a design for manufacturing. That variety is what keeps it fresh. I thrive when things aren’t routine. The most fulfilling moment, though, is seeing the idea come to life—watching something that once lived only in my head become a real, tangible object. There’s a deep sense of joy in knowing that it works, that people connect with it, that it’s both beautiful and useful. When clients are satisfied and want to bring the product to the world, it’s incredibly validating. And maybe the ultimate dream? To one day see a design of mine become iconic—something that stands the test of time and continues to inspire long after I’m gone.

What particular aspects of your background shaped you as a designer?

KR : I think one of the most valuable non-design skills I’ve developed is adaptability. I’ve worked in different roles and environments—startups, freelance, corporate settings—which meant wearing many hats. From sourcing materials and dealing with suppliers to building prototypes by hand, I learned to be self-reliant and resourceful. That ability to quickly shift gears and solve problems has been crucial. I also think being “handy” shaped the way I design. Knowing how things are made—not just in theory, but through experience with tools, materials, and production processes—has helped me bridge the gap between concept and reality. That craftsmanship mindset grounds my design work in practicality without compromising creativity. From helping my parents build furniture when renovating homes, to tinkering with stuff to make it better or more useful. As for influences, my early exposure to architecture came from movies and TV shows, where architects were often romanticized as the ones who design the world. Later, however, discovering industrial design revealed a world where aesthetics meet function, and I realized who actually designs the world. I’ve also been inspired by the elegance of natural forms,symmetry and mathematical beauty—parabolas, splines, curves that feel infinite. Those elements still echo in my style today. My journey has never been linear, but it’s always felt driven by curiosity and a desire to make things better. Every step, even the unexpected ones, helped shape who I am as a designer.

What is your growth path? What are your future plans? What is your dream design project?

KR : My growth path is centered on steadily growing my presence as a designer, becoming more influential in my field. I want to work with companies who recognize my unique vision and style, and I believe I’ve already started to attract clients who are drawn to that. While I haven’t had a ton of clients yet, those I’ve worked with have chosen me for what I bring to the table. It might sound cliché, but Philippe Starck has always been an inspiration in this sense. The guy has been consistently delivering incredible designs for decades, and I'd love to do the same—create iconic, timeless pieces that will stand the test of time. As for future projects, the ultimate challenge would be designing a yacht or a space station. But, if I’m honest, the kid in me is still dreaming of designing a spaceship. I love working with lights, furniture, and home goods, but I want to stretch beyond those areas. I want to design in different fields and make my mark in various domains. My goal is to be recognized for my versatility, and for clients to actively seek me out for the unique approach I bring to every project.

What are your advices to designers who are at the beginning of their career?

KR : For young designers, my biggest piece of advice is to never be afraid to challenge authority—especially professors. If you can argue your point and prove them wrong, not only will they respect you, but it will build your confidence for the future. Stand by your ideas, even if they seem risky. It’s also okay to scrap months of work and start fresh if you think a new idea will work better. Design isn’t about clinging to what you’ve invested in; it’s about finding the best solution. Lastly, you don’t need the latest tech to be a great designer. Sometimes, the most powerful tools are the simplest ones. Keep learning, stay curious, and never stop experimenting.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

KR : To my fellow designers: Don’t fall into the trap of recycling the same ideas over and over. Innovation is key to staying relevant and creating something that excites. If you feel like something is stale, scrap it, and start fresh—it can actually lead to better results. Always push your boundaries and challenge the status quo. It’s okay to fail and pivot; that’s part of the process. Also, don’t get too attached to your first idea. Sometimes, the best solutions come after completely rethinking your approach. Keep your eyes open to what’s new, and don’t be afraid to experiment.

What is your day to day look like?

KR : My day-to-day is pretty straightforward, but there's always something in it that keeps me engaged. I start with the essentials: coffee, cereal, and a bit of YouTube. Sometimes it’s just about easing into the day. Once I get to work, my focus shifts to solving problems. I work as a design engineer, so I spend a lot of time figuring out mechanisms, refining details, and making sure everything works. It’s not glamorous, but it’s rewarding. After work, I dive into my freelance projects. It’s where I really get to stretch my creative muscles—researching, sketching, designing, and figuring out how to make the client’s ideas come to life. I love this part because I get to work at my own pace and on my terms. It’s a nice balance with the engineering side of things. When I’m exhausted, I wind down by scrolling through social media—it's a mix of design inspiration, random news, and a bit of mindless scrolling. I’m always looking for something that sparks an idea or shows me a new perspective. I end the day with a bit of contemplation in the shower, which helps me reset for tomorrow.

How do you keep up with latest design trends? To what extent do design trends matter?

KR : I don't really follow trends. I prefer carving out my own niche, one that reflects my personal style and values. Trends tend to change too fast and don’t always align with my approach to design, especially when it comes to sustainability. I believe in creating things that last, that have a timeless quality to them—not in the sense of outdated, old-fashioned designs, but rather pieces that stay relevant and meaningful over time. That being said, I do keep an eye on what’s going on in the design world because I like seeing new ideas and innovations. I follow design magazines and platforms on Instagram like Lemanoosh, Czech Design, Hypebeast, Yanko Design, Core77, and Chair.tag. It’s always interesting to see what others are creating, but I don’t let trends dictate my work. I prefer to stay true to my own vision.

How do you know if a product or project is well designed? How do you define good design?

KR : When I evaluate a design, I start with my gut—how does it feel visually? Are the lines flowing naturally, does the symmetry work, and can I see the craftsmanship? But the deeper layer comes when I interact with the product. Does it serve its purpose intuitively? Is it easy to use, or is there a clever twist that stands out? That’s when I dive into the core principles I gravitate toward, especially Dieter Rams' 10 principles of good design. I particularly value simplicity, but not in the 'bare minimum' sense—simplicity with purpose. The product should be understandable and serve its function beautifully, without unnecessary elements. I also believe that good design should be timeless, and that’s something I try to imbue into my work. But here's the kicker: one of Rams' principles is that good design is often invisible. While I get the idea behind it, I want my designs to be visible, not hidden away. If the design isn't celebrated or appreciated for its boldness and intention, then it's not truly fulfilling its purpose. In the end, design is about creating an experience, and an invisible design doesn't get the recognition it deserves.

How do you decide if your design is ready?

KR : The product is never complete. It just isn't. You can make infinite improvements. Just look at cars, for example—it’s been over a hundred years since we started making them, and they’re still evolving. Or look at seating—something humans came up with millennia ago, and we still haven’t said, “That’s it, this is the ultimate chair, we can go home now.” So when do I stop improving my design? Usually when the deadline is near. It can be a real one from the client, agreed on in the contract, or my own personal deadline—when I decide, “okay, by this day it’s either done or it’s done.” It’s not about tweaking smaller and smaller details until they’re invisible. Because sometimes, out of nowhere, you might decide to redesign the whole thing from scratch—and then you're back at square one. While I love redesigning, and often think the second version is better, there’s always a point where you have to agree that it’s good enough and move on.

What is your biggest design work?

KR : While the Aeriform Armchair might be my most expensive project so far—and the one that won an A’Design Award—I have to give special props to an earlier design that really kickstarted everything for me: the Circle of Life bowl, later known as Eatee. It started during my bachelor studies in 2020. It was my first award-winning project (Best in Design – Zlín), my first to be mass-produced, and the one I’ve spent the most time refining over the years. Originally just a conceptual pet bowl, it evolved after the award and an exhibition at Czech Design Week, where it caught the eye of an investor. We worked together to fine-tune the design—making the bowl more compact for manufacturing, adding quality-of-life features like a removable inner water bowl, a dishwasher-safe design, and a detachable wooden base. You can check it out at ruden.framer.website/projects/eatee. What made it so rewarding was the challenge of designing not for a human, but for a pet—with their instincts and behaviors in mind. It taught me a lot about empathy in design and balancing aesthetics with practicality. Funnily enough, I’m currently working on a stool vaguely shaped like a dog for a client who found me through Eatee. It’s sculptural, a bit playful, functional and minimalistic at the same time. Not the type of project I’d usually pursue, but the client trusts my sense of form—and I’m excited to see where this one leads.

Who is your favourite designer?

KR : I’ve mentioned him before, but it has to be Philippe Starck. I really admire his ability to leave a strong signature in every object he designs—whether it’s a lemon squeezer or a yacht. He has this fearless consistency and a kind of charisma that turns even simple products into statements. I love how he manages to balance functionality with something bold and a bit absurd, yet it all just… works. If I could have a conversation with any designer from the past, it would definitely be Joe Colombo. His work was decades ahead of its time—modular, playful, space-age, and still relevant today. He died far too young, and I often wonder how the world of design might’ve looked if he had more time to experiment and evolve. His Visiona and Tube Chair are still etched in my mind as examples of how imaginative design can be. There are many iconic names out there, but I gravitate toward the ones who weren’t afraid to challenge norms, who had their own clear visual language, and who stayed curious.

Would you tell us a bit about your lifestyle and culture?

KR : I’m an expat, a city dweller. Born in one major city, raised in a small town in another country, and now I live in another big city—Prague. I don’t really have roots or one place I call home, which probably shapes how I view design. I’m a product of different cultures, but I don’t feel like I belong to any particular one. I think that sense of being in between is reflected in my work—I don’t feel the pressure to follow traditional or regional expectations. I carve my own path. Music is a huge part of my life, but whether it influences my work directly? I don't know. I always listen to music when I work, but I don’t consciously incorporate it into my design process. But yeah, it’s part of the culture I live in. I love a wide range of genres and artists—everything from Lupe Fiasco and The 1975 to Joji, Arcade Fire, and Childish Gambino. My playlist is all over the place, and it keeps my mind active. Right now, I’m in Prague. It’s the closest thing I’ve got to home, I guess. And as for what I’m working on—currently designing a stool shaped like a dog. A bit random, but it’s a fun project for a client who found me because of my previous work. I believe good design is necessary for society’s advancement. It’s not just about profits or improving margins—it’s about improving lives, making things more functional, more sustainable. And that’s something I want my designs to reflect. They should be more than just objects; they should improve people’s lives, even in small ways. As for culture—I don’t follow all traditions, but I do enjoy celebrating the little moments—like the optimism that comes with New Year’s Eve or the renewal in the changing seasons.

Would you tell us more about your work culture and business philosophy?

KR : I'm currently working full-time as a design engineer, but I also take on freelance projects because they give me the freedom to express my own vision—something that’s deeply important to me. I mostly work solo, and I tend to set my own deadlines, otherwise, let’s be honest, not much would get done. I like when clients trust my instincts but also share their own ideas. That back-and-forth keeps the process grounded and fresh. I enjoy flexibility, but if I were doing something full-time that I truly cared about, I’d absolutely embrace structure. It helps push things forward. While I’ve mostly worked alone, I’m open to collaboration. One day, I’d love to build a team—ideally with people who bring their own perspectives and challenge me in a good way. I want to grow alongside people who are just as passionate. I do see myself leading the creative direction, but not in an overbearing way—more like steering the ship while everyone brings their own magic on board.

What are your philanthropic contributions to society as a designer, artist and architect?

KR : I’m not in a position yet to take on pro bono work as much as I’d like—I’ve got to support my family first. But I still believe in giving back in the ways that feel authentic and sustainable for me. One of those ways is through being active in the r/industrialdesign subreddit. I often share resources, techniques, or feedback with students and junior designers. Sometimes it’s just a comment, sometimes a post, but over time it adds up. I like the idea of making the community a little more generous and encouraging than when I found it. Aside from that, I’ve taken part in competitions and exhibitions, which also serve as platforms for exchanging ideas and learning from one another. Maybe one day, when I’m in a more comfortable position, I’ll give more back in terms of time or money—but for now, I try to support the design ecosystem by staying present, honest, and willing to share what I know.

What positive experiences you had when you attend the A’ Design Award?

KR : One of the things I really appreciated about participating in the A’ Design Award was the preliminary score—it gave me a much-needed boost of confidence and helped reinforce my decision to nominate my project. I was still a bit nervous about the whole process, but that early feedback helped me push through. What I love about the A’ Design Award is that it’s one of the most prestigious and global competitions out there. It offers incredible visibility for both young designers and established brands. The PR support, networking opportunities, online exhibition, physical showcases, and the award certificate itself—those are all real, tangible benefits that can give your career a nudge in the right direction. Competitions like this matter. Not just because they validate our ideas, but because they give them a stage. I’ve experienced firsthand how the exact same design—literally unchanged—suddenly feels more impressive to others once it has that “award-winning” tag. I don’t know why, but it’s real. Recognition opens doors. It brings credibility. I also think competitions help you grow. They make you finish what you started, craft a proper narrative around your design, and reflect on why you made the choices you did. And beyond that, they help raise awareness about the design process in general. They show people that great products don’t just pop into existence—they’re the result of intentional work, iteration, and care. As for being named Designer of the Day—it's genuinely a big honor. It gave me a real confidence boost and reminded me that I’m on the right path. It’s a great feeling to have your work recognized on a platform like this, and it motivates me to keep pushing forward, creating, and growing as a designer.

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