Roland Stanczyk

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Roland Stanczyk ("RS") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

RS : I am Roland Stańczyk, architect and founder of RS Studio Projektowe. I graduated from the Faculty of Architecture at the Warsaw University of Technology, with a scholarship period at the University of Detroit, which exposed me to international architectural practices early on. Over 26 years of professional practice, I have focused primarily on luxury residential interiors, but also designed public spaces such as offices, spas, and curated cultural interiors. My work bridges architectural heritage, contemporary design, and the integration of art, light, and human experience.

DL: What motivates you to design in general, why did you become a designer?

RS : I design because I am fascinated by how space shapes life — how proportions, light, and materials influence mood, behavior, and memory. Architecture and interior design are, for me, the ultimate instruments to translate ideas and emotion into reality. My motivation originates from both intellectual curiosity and an internal desire to create spaces that are simultaneously functional, aesthetically coherent, and culturally meaningful.

DL: Did you choose to become a designer, or you were forced to become one?

RS : I chose this path deliberately. Early exposure to visual media — animation, set design, and advertising — awakened my interest in the interplay between narrative and space. Architecture felt like a natural extension of that curiosity, allowing me to combine storytelling, craft, and technical problem-solving. There was no external pressure; it was an internal calling.

DL: What do you design, what type of designs do you wish to design more of?

RS : I primarily design luxury residential interiors, often integrating curated art collections, lighting studies, and historical references. I also design select public interiors and small-scale cultural spaces. Going forward, I wish to explore residential projects that serve as living museums — spaces where architecture, furniture, and art form an inseparable dialogue.

DL: What should young designers do to become a design legend like you?

RS : Young designers must master the foundations — history, craft, materiality — before chasing trends. Observe, sketch, travel, and study human behavior. Avoid shortcuts, and cultivate patience. Learn to listen to clients and craftsmen. Above all, maintain integrity: your reputation will outlast any award or publication.

DL: What distinguishes between a good designer and a great designer?

RS : A good designer creates aesthetically pleasing spaces; a great designer creates spaces that resonate emotionally and culturally, integrating function, craft, history, and innovation. Great designers also navigate complexity, coordinate multidisciplinary teams, and understand that architecture must serve people, not ego.

DL: What makes a good design a really good design, how do you evaluate good design?

RS : A good design is coherent, functional, and aesthetically balanced. A great design goes further: it feels inevitable, as though every choice — light, material, proportion — is unavoidable. I evaluate a project by observing how it interacts with inhabitants and space over time, whether it endures visually and functionally, and whether it tells a subtle story without forcing attention.

DL: What is the value of good design? Why should everyone invest in good design?

RS : Good design elevates daily life, fosters clarity of thought, and nurtures emotional well-being. It is an investment in quality of experience, not merely decoration. Spaces designed thoughtfully improve comfort, longevity, and cultural literacy — they shape the way people move, interact, and remember.

DL: What would you design and who would you design for if you had the time?

RS : If time were unlimited, I would design a residential space that doubles as a small museum or gallery, integrating art collections, architecture, and lighting research seamlessly. I would do this for clients who value culture, craftsmanship, and intellectual depth, people who understand that living space is an extension of identity.

DL: What is the dream project you haven’t yet had time to realize?

RS : My dream project is a cultural house in Poland, where art, history, and architecture coexist. It would explore social realist motifs reinterpreted for contemporary life, integrating light, craft, and narrative into a living environment — a space that educates and inspires without sacrificing domestic intimacy.

DL: What is your secret recipe of success in design, what is your secret ingredient?

RS : Patience, rigor, and empathy form the core of my method. My “secret ingredient” is respect for context and narrative — understanding the history, materiality, and human experience of every project. This allows even modern interventions to feel timeless and coherent.

DL: Who are some other design masters and legends you get inspired from?

RS : I draw inspiration from Peter Zumthor, Pallasmaa, Alvar Aalto, and Walter Gropius. Their work demonstrates a mastery of atmosphere, proportion, and material honesty. I also admire Polish modernists like Bohdan Pniewski and Oskar Hansen, whose approaches to collective space and social realism continue to influence my perspective.

DL: What are your favorite designs by other designers, why do you like them?

RS : I am drawn to works where light, material, and proportion are inseparable from meaning. Scarpa’s Brion Cemetery, Aalto’s Paimio Sanatorium, and Zumthor’s Therme Vals are exemplary: each demonstrates restraint, attention to detail, and a poetic integration of human experience and architecture.

DL: What is your greatest design, which aspects of that design makes you think it is great?

RS : My “City Rooftop Residential” in Warsaw stands out. Its success lies in harmonizing historical architecture with contemporary living, integrating lighting, furniture, and art into a coherent whole. Every element — ceiling geometry, material palette, and light composition — works in dialogue, creating an interior that is functional, emotionally resonant, and timeless. The best one is not done yet.

DL: How could people improve themselves to be better designers, what did you do?

RS : Continuous learning is essential. I improved by studying history, observing craftsmen, travelling, and reading widely. Sketching by hand, visiting sites, and reflecting on completed projects helped me cultivate judgment. The key is a combination of technical mastery, cultural literacy, and sustained curiosity.

DL: If you hadn’t become a designer, what would you have done?

RS : I would likely have pursued something that combined visual storytelling with human interaction, perhaps film, set design, or exhibition curation. Architecture was a natural convergence of those passions.

DL: How do you define design, what is design for you?

RS : Design is the intentional shaping of space, object, or experience to serve human needs and aspirations. It is both practical and poetic, balancing function with emotion, technology with culture, and individuality with universality.

DL: Who helped you to reach these heights, who was your biggest supporter?

RS : Mentors at the Warsaw University of Technology, early colleagues in visual media, and my family provided guidance, encouragement, and critique. Their belief in patience, observation, and rigor shaped my career profoundly.

DL: What helped you to become a great designer?

RS : Practical experience, critical observation, and constant experimentation helped. I learned to translate cultural references, including social realist motifs, into contemporary luxury interiors, balancing narrative with materiality and craft.

DL: What were the obstacles you faced before becoming a design master?

RS : Early challenges included coordinating complex projects with limited resources, convincing clients of unconventional ideas, and learning to navigate technical realities without compromising aesthetic intent. Patience and persistence were essential.

DL: How do you think designers should present their work?

RS : With clarity and storytelling. Presentation should reflect both concept and execution, showing the intellectual process, material choices, and human experience. Photos, sketches, models, and narratives must communicate intention, not just aesthetics.

DL: What’s your next design project, what should we expect from you in future?

RS : I am currently working on a residential-cum-curatorial project, where art and architecture co-create a narrative. Future projects will continue integrating light, craft, and social historic references into interiors that are both luxurious and meaningful.

DL: What’s your ultimate goal as a designer?

RS : To create interiors and spaces that endure, teaching people to live more consciously and appreciate culture, without sacrificing comfort or sophistication.

DL: What people expect from an esteemed designer such as yourself?

RS : Clients expect consistency, cultural literacy, technical mastery, and emotional resonance. They look for someone who can translate their aspirations into coherent, elegant, and functional environments.

DL: How does design help create a better society?

RS : Good design educates, inspires, and structures daily life. It fosters appreciation for proportion, light, and craftsmanship, shaping behavior and culture. Architecture can reflect social values, sustain heritage, and elevate communal and private spaces.

DL: What are you currently working on that you are especially excited about?

RS : A private Warsaw residence with an integrated art collection, where every room is conceived as both living space and curated exhibition. Light, proportion, and materiality are central to the project, creating a subtle dialogue between architecture and art.

DL: Which design projects gave you the most satisfaction, why?

RS : The “City Rooftop Residential” and several public interior commissions stand out. Satisfaction comes from seeing ideas realized in harmony with heritage and human experience, and from observing clients engaging with spaces thoughtfully.

DL: What would you like to see changed in design industry in the coming years?

RS : Greater respect for context, craft, and material integrity. I hope emerging designers focus less on superficial trends and more on creating spaces that are culturally meaningful and enduring.

DL: Where do you think the design field is headed next?

RS : Towards integration of technology and craft, with increased emphasis on sustainability, intelligent lighting, and human-centered design. However, enduring quality and narrative will always distinguish exceptional projects.

DL: How long does it take you to finalize a design project?

RS : Complex projects typically take 12–18 months from concept to execution, depending on scale, client needs, and material or craft considerations. Quality cannot be rushed.

DL: When you have a new design project, where do you start?

RS : I begin with observation and research — the building, its context, cultural references, and client aspirations. Sketching and light studies follow, mapping human circulation, proportion, and mood before any technical drawings are created.

DL: What is your life motto as a designer?

RS : “Do it once, do it right, make it last.” Every decision must respect craft, human use, and aesthetic coherence.

DL: Do you think design sets the trends or trends set the designs?

RS : Design should observe trends but not follow them blindly. Trends fade; quality and atmosphere endure. True design emerges from cultural awareness, craft, and human-centered intent.

DL: What is the role of technology when you design?

RS : Technology is a tool for precision, visualization, and coordination, not a substitute for thought or creativity. CAD, BIM, and renderings assist in realization but cannot replace judgment or cultural sensitivity.

DL: What kind of design software and equipment do you use in your work?

RS : We use AutoCAD and 3ds Max for visualization and coordination, alongside physical models, mock-ups, and material prototypes to test proportions, finishes, and light.

DL: What is the role of the color, materials and ambient in design?

RS : They define mood, scale, and emotional resonance. Light, wood, stone, and textiles create tactile and visual layers, transforming spaces into coherent, human-centered environments.

DL: What do you wish people to ask about your design?

RS : I wish people would ask: “How does this space make life better? How does it connect with history and art?” That is the essence of meaningful design.

DL: When you see a new great design or product what comes into your mind?

RS : I analyze its intention, context, materiality, and emotional impact. If every element serves a purpose and creates resonance, I know it is successful.

DL: Who is your ideal design partner? Do you believe in co-design?

RS : An ideal partner is curious, disciplined, and open to collaboration. I do believe in co-design, but clarity of vision must be maintained — each participant must enhance, not dilute, the concept.

DL: Which people you interacted had the most influence on your design?

RS : Professors at Warsaw University of Technology, colleagues in early media design, and mentors in architecture deeply influenced my approach, teaching the value of restraint, craft, and narrative.

DL: Which books you read had the most effect on your design?

RS : Rybczyński’s Dom Idei, Stępień’s Wartość luksusu, and Tatarkiewicz’s Filozofia profoundly shaped my understanding of space, culture, and aesthetics.

DL: How did you develop your skills as a master designer?

RS : Through constant observation, site visits, reflection, mentoring younger designers, and practical execution. Learning is continuous; every project is a laboratory.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

RS : Carlo Scarpa, for his integration of craft, architecture, and narrative; Alvar Aalto, for his empathy and humanism; or Le Corbusier, for his revolutionary conceptual rigor.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

RS : Awards like the A’Design Award Bronze 2024 honor quality and thoughtfulness but do not define my work. Recognition brings responsibility: to maintain standards, educate clients, and inspire younger designers. Fame is never the goal; impact is.

DL: What is your favorite color, place, food, season, thing and brand?

RS : Colors: muted earth tones and natural whites; place: Warsaw rooftops at sunset; food: traditional Polish cuisine with seasonal refinement; season: spring for its clarity of light; object: a well-crafted wood table; brand: those that value quality and craft over hype.

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

RS : During an early residential project, a client asked workers to build the model of the space in real in two version. They build the first. later destryed it and build another. The second one was worse. They have to build firsty again.

DL: What makes your day great as a designer, how do you motivate yourself?

RS : A day is great when sketches, discussions, and material tests align with the original concept. Seeing a detail executed exactly as imagined motivates me more than accolades.

DL: When you were a little child, was it obvious that you would become a great designer?

RS : Not obvious, but I was always obsessed with observation, model-making, and spatial puzzles, which naturally led to architecture.

DL: What do you think about future; what do you see will happen in thousand years from now?

RS : Architecture will continue to mediate human life, blending technology, sustainability, and culture. I imagine cities layered like palimpsests, where human values and stories remain legible despite technological transformation.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

RS : I believe design is a cultural and humanist act. It is not decoration; it is the shaping of life, memory, and experience. I hope my work inspires respect for heritage, curiosity for craft, and joy in everyday spaces. Luxury, for me, is thoughtfulness, precision, and emotional resonance — and that is what I aim to leave behind.