29 / 09 / 2023
Rina Lovko is the mastermind behind her eponymous studio. Creative director, designer and lead architect, her approach to design is rooted in the aesthetics of minimalism, organic forms and natural colours, combining conciseness when creating harmonious and functional spaces, realising the balance of the elements. The alignment of simplicity and complexity is the key to her work, represented in multiple projects and ambiences.
LÚCIA RUMOR How did you get started in this field, and what led you to specialize in interior decor? RINA LOVKO At the age of five, I decided that I was going to become an interior designer. I remember when I went to bed and couldn’t sleep, I would imagine what kind of renovation I could do in my bedroom. At the age of 11, I did this kind of renovation: my mother and I went to the wallpaper market and I chose yellow and orange wallpaper. My bedroom windows were south-facing. It was the smallest and best room in our apartment in Kyiv. My passion for re-arranging things came from my mother, who always liked to change everything, hang things up, decorate. My dad also had artistic inclinations — I saw his drawings in an army album. Despite that, no one in our family had creative professions.
What are your preferences when it comes to different design approaches, whether it’s a residential, commercial or hospitality project? The focus of the team’s interest is on the implementation of bespoke projects in industrial design, environmental design, and residential architecture. The portfolio of the Rina Lovko Studio includes interiors of different types and complexity. Travelling has influenced every project I’ve ever done through ideas that dawn on me during my trips. I think about work all the time, and my brain is switched on wherever I go. The Blue Terracotta interior was created after I returned from India. The Himalayas are a must-see destination for designers, and for any other person, come to that. This was a trip that divided my world into the “before” and “after”. No architecture can be compared to this. A person cannot build a building that is 8 kilometres high. But nature can. Looking at the mountains, you realise how powerful our planet is. After this realisation, you start to feel better about yourself and the importance of your own work.
How do you describe your design process and creative vision? What are the key factors you need to balance in your designs? We believe that each project has its unique story, and the language of design has the potential to express it. Spaces and buildings have their individuality and original aesthetics, which are essential to define during our dialogue with the client, to complement and to share them with the world. That is why our interior projects are created exclusively for each individual client, and in which we combine all natural colours that harmonise well with each other, as long as you maintain the tonality. Now we have moved away from colour and we are creating monochrome interiors. I am interested in changing, trying new materials, finding new solutions. Although sometimes I feel cramped by a monochromatic approach. But it has its own moments: a complex interaction between textures, selection of materials and combinations. It’s easier to work with colours — it offers more freedom for creativity. Academic interiors that are made ‘by the book’ — with contrasts, halftones, accents and dominant elements — are correct, but incredibly boring. I work outside these rules.
What are your preferences when it comes to different design approaches, whether it’s a residential, commercial or hospitality project? The focus of the team’s interest is on the implementation of bespoke projects in industrial design, environmental design, and residential architecture. The portfolio of the Rina Lovko Studio includes interiors of different types and complexity. Travelling has influenced every project I’ve ever done through ideas that dawn on me during my trips. I think about work all the time, and my brain is switched on wherever I go. The Blue Terracotta interior was created after I returned from India. The Himalayas are a must-see destination for designers, and for any other person, come to that. This was a trip that divided my world into the “before” and “after”. No architecture can be compared to this. A person cannot build a building that is 8 kilometres high. But nature can. Looking at the mountains, you realise how powerful our planet is. After this realisation, you start to feel better about yourself and the importance of your own work.
How do you describe your design process and creative vision? What are the key factors you need to balance in your designs? We believe that each project has its unique story, and the language of design has the potential to express it. Spaces and buildings have their individuality and original aesthetics, which are essential to define during our dialogue with the client, to complement and to share them with the world. That is why our interior projects are created exclusively for each individual client, and in which we combine all natural colours that harmonise well with each other, as long as you maintain the tonality. Now we have moved away from colour and we are creating monochrome interiors. I am interested in changing, trying new materials, finding new solutions. Although sometimes I feel cramped by a monochromatic approach. But it has its own moments: a complex interaction between textures, selection of materials and combinations. It’s easier to work with colours — it offers more freedom for creativity. Academic interiors that are made ‘by the book’ — with contrasts, halftones, accents and dominant elements — are correct, but incredibly boring. I work outside these rules.
"RINA LOVKO” ESTÚDIO, KIEV, UCRÂNIA/STUDIO, KYIV, UKRAINE, 2017. Photo © Yevhenii Avramenko
“SEMEREY” APARTAMENTO, KIEV, UCRÂNIA/APARTMENT, KYIV, UKRAINE, 2022. EQUIPA/TEAM: RINA LOVKO, DARYNA SHPURYK. Photos © Yevhenii Avramenko
“DICENTRA” FORNECEDOR DE FLORES, KIEV, UCRÂNIA/FLOWER SUPPLIER KYIV, UKRAINE, 2019. Photos © Alexey Yanchenkov
Your most recent award-winning projects, such as Dicentra (Interior of the year 2021) and Blue Terracota (ArtSpace 2021), are an example of the celebration of your experience. What do you think about the importance of this recognition in your country and the visibility arising from it? It is now important for us to represent Ukrainian design in the international arena. We have really extensive experience in working with different types of projects of varying complexity and size. Therefore, we no longer take part in local competitions because we want to give other studios that are just starting out an opportunity to show themselves. I am very pleased that Ukrainian design is becoming increasingly popular and gaining recognition from all over the world.
"BLUE TERRACOTTA” APARTAMENTO, KIEV, UCRÂNIA/APARTMENT, KYIV, UKRAINE, 2020. Photos © Yevhenii Avramenko
“THE COAT BY KATYA SILCHENKO” SHOWROOM, KIEV, UCRÂNIA/SHOWROOM, KYIV, UKRAINE, 2022. EQUIPA/TEAM: RINA LOVKO, DARYNA SHPURYK. Photo © Yevhenii Avramenko
“SHOWROOM RUSLAN BAGINSKIY” KIEV, UCRÂNIA/KYIV, UKRAINE, 2020. Photo © Yevhenii Avramenko
“BALTHAZAR” RESTAURANTE, KIEV, UCRÂNIA/RESTAURANT, KYIV, UKRAINE, 2019. Photo © Yevhenii Avramenko
For more information visit Rina Lovko website.