We find ourselves in a period of deep global crisis. Wars are knocking the world to its knees, not only destroying our cities and land, but also our dreams, hopes, and futures. They shatter our vision as artists and, even more, our vision for our lives as human beings. In times like these, fear converts to hatred and hatred to prejudice, often towards nations, cultures, and people." However, we choose to go beyond all of that.

“The most radical revolutionary will become a conservative the day after the revolution.”

— Hannah Arendt

As creatives, we are not only makers, but thinkers—endowed with intellect, sensitivity, and responsibility. Art and design have the capability to transcend divisions and be a common and communal space where culture and emotion can be exchanged. Art and design can be a universal language, which crosses boundaries where words and politics have failed. It is in this space where dialogue can still be made possible, and where culture can still develop. With this perception, it is a pleasure to introduce Primitive Buro.

Primitive Buro is a design endeavor conducted under the guidance of Nikita Gorshkov, whose main inspiration for his craft stems from an endless quest to transgress conventions and look for new ways and means of expression through objects for interiors.

The exploration of materials and technologies stands at the core of Primitive Buro. Digital processes flow into traditional craftsmanship, and vice versa, to result in col­lectible pieces, limited editions, each bearing its own personal character. Objects aren't created as purely functional elements but as vessels of artistic intent-that's where form meets texture and concept. Based in Moscow, the studio serves as a kind of ideational lab where aesthetics and craft come together in a continuous dialogue. Here, objects are crafted as emotional artifacts rather than mere design solutions, each with their own story, atmosphere, and presence.

The philosophy of Primitive Buro views furniture and interior elements as works of art—capable of transforming not only the spaces they inhabit, but also the way we perceive them. Every creation reflects a process of research and cultural exchange, an exploration of contemporary language, and an attempt to propose new directions for design today.

Simone Lorusso: Nikita, Primitive Buro was born in a time marked by global uncertainty and division. How do you personally see the role of design and creativity in such a complex historical moment?

Nikita Gorshkov: We live in a period when stable reference points are becoming
blurred, and the cultural and social environment is becoming increasingly changeable
and unpredictable. In this situation, it seems important to me to consider design—if not
completely outside market logic, then at least as an independent tool for researching
contemporary culture.

By taking a research position through design, we gain the opportunity to speak about
everyday practices, different forms of existence, and ways of interacting with each other.
In this approach, design becomes not so much an answer to global questions as a way
of comprehending what is happening—a space for dialogue, observation, and reflection.
For me, design also acts as a way of building my own strategy and as a form of creative
adaptation to the realities of the time in which we all happen to live today.

SL: As prejudices and cultural barriers intensify globally, do you see design as a tool for rebuilding dialogue between different societies?

NG: I would say that one of the abilities of design is to act on the level of
experience—through images, materials, form, tactility, and other sensory parameters. In
this sense, it works as a universal language. Having lived over the past three years in different countries, I am increasingly convinced that dialogue through design is possible—one that does not require translation and does not depend on your geography. Ultimately, we differ less than we are led to believe, and it is precisely the experience of interaction through design practice that allows us to feel this.

SL: Your work consistently moves beyond conventional definitions of furniture and interior objects. What does “going beyond function” mean to you in your daily practice?

NG: Function is still important, but it has ceased to be primary. In the era of
hyperconsumption, we increasingly look for reflections of our own identity in
objects—our own small utopian micronarrative.

Therefore, in everyday practice, I often consciously postpone the question of
functionality and begin work with context. The method itself changes: I observe a
lot—myself, others, space, and how people interact with things. In this sense, my approach is close to an anthropological one. I am interested not only in the object itself, but also in the cultural environment in which it arises and exists, as well as the life scenarios and forms of behavior that form around it.

SL: Many of your pieces feel more like emotional artifacts than functional objects. How important is storytelling and emotional resonance when you design a new piece?

NG: Hyperconsumption provokes the attribution of additional utopian micro-narratives to
objects, often playing with our perception and promising exceptional status or liberation
from suffering. In this context, I often recall the radical design of the 1960s, which was in
many ways a form of critique of consumerism. It seems to me that this approach
remains relevant today.

Design can still occupy a critical position in relation to the social and cultural
environment, and objects can act as a medium that highlights its contradictions and
offers an alternative view of our everyday rituals.

SL: Primitive Buro operates at the intersection of digital technologies and traditional craftsmanship. How do these two worlds influence each other in your creative process?

NG: I like the contrast of opposites, because it is precisely at the intersection that a new
image often emerges. Technologies provide control and precision, while material
inevitably reveals imperfection, resistance, and chance. I see this as a metaphor for
human nature. We strive so strongly toward the ideal, but constantly encounter our own
limitations.

SL: The studio is often described as a “laboratory of ideas.” Can you tell us more about your approach to experimentation and research within Primitive Buro?

NG: I truly perceive Primitive Buro as a platform for experimentation and open
experience. It is important for me to work at the intersection of different directions—this
helps me remain attentive to what is happening and maintain interest over a long
distance in a changing world.

For me, this is also a way not to burn out and not to fall into a state of constant racing
for novelty. Experimentation here is not so much about searching for a result as about a
form of thinking in which chance, error, or deviation can generate new meaning. Sometimes it is fundamentally important to allow yourself not to know the outcome in advance—to trust intuition, the process, and the material itself.

SL: Your objects are produced as collectible pieces or limited editions. What does the idea of collectibility represent for you in contemporary design?

NG: I look at collectibility and limited production from two positions. The first is an
awareness of the limited resources for producing large editions and a conscious choice
in favor of smaller-scale production with greater depth of content. The second is connected to the status of the object itself. When furniture enters the realm of collectible design and begins to speak the language of art, the question arises of its relevance and its ability to reflect the spirit of the time. In response to a culture of rapid updates and constantly changing trends, I feel closer to the path of transforming familiar experience and established patterns of interaction with objects.

I understand that this approach cannot be close to everyone. For some, a chair remains
just a chair, and there is no problem with that. I rather work with those who feel an
internal need for something more than functionality and visual attractiveness—in objects
as a cultural phenomenon and a personal experience.

SL: What future scenarios—social, cultural, or technological—are you most curious or concerned about, and how might they influence your work?

NG: When I was just starting out in design, the world seemed simpler and more
predictable. Today, in the era of global crises, total digitalization, and increasing control,
time has noticeably accelerated. I cannot say with confidence how exactly the
profession of designer and artist will transform, or which new tools will become
necessary in the future. Instead of trying to keep up with changes, I propose looking deeper into the very essence of design practice—its role and the significance of aesthetic experience in our lives.

Perhaps, by moving away from automatism and habitual scenarios toward greater
subjectivity and conscious choice, we will be able to better understand our own motives,
treat the surrounding world more attentively, and make our interaction with it a little
more meaningful.

The open question is left to us: what role are we willing to assign to design in shaping the cultural and human landscape of tomorrow? Will it remain confined to function, market logic, and aesthetics alone, or will it take on a more conscious position—one that acknowledges its ability to influence perception, behavior, and dialogue? 
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Words: Simone Lorusso