We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Idea Design ("ID").
Since 2005, Idea Design has been a pioneering force in strategic design and product development, seamlessly bridging digital and physical realms. Placing clients and users at the forefront, all necessary steps are meticulously covered to bring projects to life. Solutions are crafted in tandem with clients, aiming to simplify lives with innovative designs. Idea's portfolio boasts a diverse range of small to global solutions, all united by their transformative impact, turning dreams into tangible reality. At Idea Design, passion drives every step of this intricate yet fulfilling journey.
Idea Design Designs
We are pleased to share with you original and innovative design work by Idea Design.
Idea Design Design - Hen Olive Oil Dispenser
Designer Interview of Idea Design:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
ID : Design was never a goal — it was always a language. A way of decoding the world and imagining new ones. From a very early age, I felt a need to understand how things work — not just mechanically, but emotionally and socially. That curiosity led me to study Industrial Design Engineering, but my real education came from collaborating with people from very different worlds: scientists, artisans, business leaders, healthcare professionals, and even chefs. The turning point was realizing that design wasn't only about creating “things” — it was about shaping systems, behaviors and meanings. I chose design because it allows me to connect empathy with strategy, function with emotion, and the present with the possible. So yes, I’ve always been a designer — even before I knew that’s what I was.
DI: Can you tell us more about your company / design studio?
ID : IDEA DESIGN is not a design studio. It’s a mindset, a way of navigating complexity with creativity and purpose. We help companies rethink their value through design — whether it’s a product, a service, a digital experience or a new business model. We design from insight to impact, always aligning what we do with why it matters. We work across industries — from healthcare to mobility, food, sustainability or tech — and across all scales, from strategic vision to tangible products. But our real obsession is people: their needs, their rituals, their emotions. We see design as a collaborative act. That’s why we co-create with our clients, build alliances with researchers and engineers, and prototype constantly. Because for us, design is not a deliverable — it’s a process of transformation. And that’s what makes IDEA a living project: a platform for impact, reflection and evolution.
DI: What is "design" for you?
ID : Design is the bridge between what is and what could be. It’s not just about solving problems — it’s about asking better questions, challenging assumptions and shaping futures that are more human, sustainable and meaningful. Design is how we give form to ideas and values. It's a tool for clarity in uncertain times, a compass in complexity, and above all, an act of generosity: putting creativity at the service of others. For me, design is not a profession. It’s a responsibility. To listen deeply, to think critically, and to imagine boldly.
DI: What kinds of works do you like designing most?
ID : The ones that don’t have a predefined answer. I’m drawn to challenges where design becomes a strategic lens — not just a styling layer. Whether it's shaping a new product, reimagining a service, or transforming a business model, I enjoy designing when the process allows me to explore human behavior, systemic impact, and meaningful innovation at the same time. I particularly enjoy projects where technology meets empathy, and where design has the power to unlock new habits, new relationships, or new ways of seeing the world. In that sense, I don’t design objects — I design experiences, rituals, and futures.
DI: What is your most favorite design, could you please tell more about it?
ID : One of my favorite designs is the Hen Olive Oil Dispenser — not because of its form alone, but because of the story and values it represents. Hen was born from a desire to reconnect a daily ritual — pouring olive oil — with its emotional, cultural and sensorial roots. In Mediterranean culture, olive oil is more than an ingredient; it's a symbol of care, of slowness, of shared moments. We wanted to design an object that honors that legacy while introducing a clean, contemporary and intuitive experience. The challenge was to merge aesthetic purity with ergonomic intelligence and sustainable production. Every curve of Hen was refined to evoke calm and balance — like holding a small living creature in your hand — while ensuring control, durability and clarity of use. It has been recognized internationally, but for us, the most important thing is how people connect emotionally with it. It’s a small object, but it carries a deep intention: to elevate the ordinary, to design not just for function, but for ritual and meaning.
DI: What was the first thing you designed for a company?
ID : The first thing I designed for a company was a line of toys. It was a formative experience — not just because it involved designing for children, but because it forced me to think beyond aesthetics and address interaction, safety, materiality and emotion all at once. Designing toys taught me that play is serious — it shapes cognition, imagination and behavior. I had to understand how children relate to objects, how they explore, misuse and reinterpret them. That experience planted a seed: the realization that design is not about control — it’s about enabling discovery. It was also my first encounter with production constraints, certifications, and market adaptation. And yet, despite all the technical demands, the core challenge remained beautifully simple: Can we spark joy? Can we invite wonder?
DI: What is your favorite material / platform / technology?
ID : I don’t have a single favorite — I’m fascinated by materials and technologies as languages, not as ends in themselves. That said, I’m especially drawn to emerging materials that connect with sustainability, digital fabrication techniques like large-scale 3D printing, and platforms that enable human–machine collaboration, like AI-assisted design or interactive prototyping environments. But ultimately, my favorite “technology” is conversation — the act of co-creating ideas with clients, users and collaborators. Because behind every material or platform, there is always a shared intention.
DI: When do you feel the most creative?
ID : When there's tension between constraints and possibility. When the challenge is real, urgent and a bit uncomfortable. I feel most creative when I’m navigating ambiguity — not knowing the answer yet, but trusting the process. Especially when working in a diverse, multidisciplinary team, where different perspectives collide and open unexpected paths. Also, moments of quiet help — long walks, sketching by hand, or simply stepping away from the screen. Creativity often comes when I stop trying to "solve" and start trying to listen — to people, to context, to intuition.
DI: Which aspects of a design do you focus more during designing?
ID : I focus on meaning, rhythm and coherence. Meaning: Why does this exist? What value does it bring to real people in a real context? Rhythm: How do the parts connect? What flow, emotion or tension emerges from the experience? Coherence: Does the solution align with the values, the brand, the intention behind it? Design is never just form or function — it's the dialogue between what is visible and what is felt. So I pay close attention to those invisible layers: the story, the behavior, the impact. Because for us at IDEA DESIGN, every detail is a decision — and every decision shapes the experience.
DI: What kind of emotions do you feel when you design?
ID : Designing is an emotional rollercoaster — and that’s part of the beauty. I often feel a mix of curiosity, tension, humility and joy. Curiosity because every project opens a new world to explore. Tension because there’s always uncertainty, friction, and pressure to make choices that matter. Humility because I’m aware that I don’t have all the answers, and that I must listen deeply. And joy — when connections start to emerge, when the invisible becomes visible, when a bold idea starts to make sense. For me, design is not a linear task — it’s an emotional journey. And the more emotional it gets, the more human the result tends to be.
DI: What kind of emotions do you feel when your designs are realized?
ID : When a design becomes real, the feeling is a mix of pride, vulnerability and responsibility. Pride — not for the object itself, but for the collaborative effort behind it. Vulnerability — because once a design is out in the world, it no longer belongs to you; it becomes part of people’s lives, and they reinterpret it in ways you can't control. Responsibility — because every design has consequences: ecological, social, emotional. And sometimes, there's even a strange kind of silence — the need to pause, observe, and reflect before jumping into the next challenge. Realization is not the end of the process — it's the beginning of its impact.
DI: What makes a design successful?
ID : A design is successful when it becomes invisible and irreplaceable at the same time. Invisible, because it blends into people's lives naturally, solving real needs with elegance. Irreplaceable, because once experienced, you can't imagine going back to a time without it. Success is not only measured in sales or awards — but in adoption, meaning and transformation. A successful design shifts habits, provokes reflection, or makes someone feel seen, heard or empowered. At IDEA DESIGN, we see success as a triangle: impact, coherence and resonance. If a design can generate positive impact, remain true to its purpose, and emotionally resonate with its users — then it has done its job.
DI: When judging a design as good or bad, which aspects do you consider first?
ID : First, I ask: Is it honest? Is it relevant? Is it responsible? A good design should be rooted in real needs, not just trends. It should respect the context — cultural, ecological, human — in which it exists. And it should tell a story that makes sense: functionally, ethically, emotionally. A bad design, in contrast, often looks good at first glance — but lacks depth, intention or empathy. It may be clever but not wise. So I try to look beyond the surface. I ask what the design stands for, how it behaves over time, and what kind of world it contributes to building. Because in the end, we are not just judging forms — we are judging consequences.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
ID : Designers are not neutral. Every decision we make — what we create, how we create it, and why — has a ripple effect on people, ecosystems and cultures. Our responsibility is to act with consciousness and courage. To ask: Is this necessary? Who benefits? Who is excluded? What are the long-term effects? We must design not just for users, but for systems — and consider environmental impact, social equity, and cultural respect as part of the design brief. At IDEA DESIGN, we believe that beauty without responsibility is empty, and that true innovation is regenerative — it gives more than it takes. Designers are not just problem-solvers. We are possibility-makers, and that comes with ethical weight.
DI: How do you think the "design field" is evolving? What is the future of design?
ID : Design is evolving from “what it looks like” to “how it works” to “why it matters”. We’re moving beyond aesthetics and usability into the realm of meaning, strategy, systems and futures thinking. Design is no longer the final step — it’s becoming the starting point of innovation and transformation. The future of design is integrative: blending disciplines, tools and mindsets to solve complex problems. It’s inclusive, giving voice to more people, and intelligent, working with AI, data and emerging technologies not to replace creativity, but to amplify it. But above all, the future of design is human-centered and planet-conscious — because relevance without responsibility is no longer acceptable.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
ID : Our last exhibition was at the iF Design Award 2025 Gala, where we had the honor of seeing our work celebrated among global design leaders. It wasn’t just an award ceremony — it was a space for reflection, exchange and shared purpose. Moments like that remind us that design is a collective language that transcends borders and disciplines. Our next exhibition will be at the Red Dot Award 2025 Gala in Singapore, and we’re truly excited. Not just for the recognition, but for the opportunity to connect with the international design community in such a vibrant and forward-looking setting. We don’t exhibit just to showcase — we exhibit to learn, to listen and to grow.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
ID : Inspiration doesn’t come from a single place — it comes from observation, friction and immersion. We find it in real life: in how people move, speak, hesitate or improvise. We also find it in contradictions — moments where things don’t work as they should, or where systems are broken. My creativity is fed by curiosity. I read outside of design, talk to people from unexpected fields, visit factories, explore rituals, and spend time in silence when I can. Nature is also a teacher — not just in form, but in resilience, cycles and systems. At IDEA DESIGN, we try to stay connected to the world without being absorbed by it. That means reflecting, editing, and questioning — not just collecting references. Because true inspiration is not what you see — it’s what you make visible.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
ID : I wouldn’t describe what I do as a “style” — I see it more as an attitude. My approach is rooted in clarity, intention and depth. I try to design with as little noise as possible, letting each decision have meaning. You’ll find in our work a sense of strategic simplicity, where form is always connected to purpose and experience. Rather than defining a visual style, I focus on creating a design logic that makes sense for the user, the context and the values behind the project. I explore this way of designing because I believe that design is not self-expression — it's service and synthesis. It’s a way to connect people with possibilities through empathy, beauty and intelligence.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
ID : I live and work in Murcia, in the southeast of Spain — a place where tradition and transformation coexist in constant tension. Spain is a country full of contradictions, and that’s precisely what makes it inspiring. There’s a deep cultural layer here: craftsmanship, celebration, emotion and improvisation. All of that seeps into how we design — especially in the way we understand materiality, narrative and experience. Murcia, in particular, is a land of contrast and resilience. It’s not a design capital, but it’s a region that teaches you to design with both constraints and possibility. We’ve learned to create value with limited means, to think systemically, and to stay close to the people and their realities. Of course, there are structural challenges — like the lack of design culture in certain sectors or fewer industrial resources compared to larger cities — but these very challenges force us to be more strategic, agile and inventive. At IDEA DESIGN, we see design as a cultural act, and we’re proud to bring that Mediterranean mindset — human, poetic and adaptable — into everything we create.
DI: How do you work with companies?
ID : We work as partners, not as providers. We don’t just deliver a solution — we design the journey with them. From insight to concept, from idea to impact. We explore deeply, align intentions, and co-create outcomes that make strategic and emotional sense. Every project is different, but our method always includes: understanding the business, identifying real user needs, uncovering systemic tensions, and prototyping with purpose. We adapt to the company’s level of maturity, but we always bring a lens of strategic design to the table — one that goes beyond aesthetics and focuses on value creation, experience and coherence.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
ID : Don’t look for someone who just “gets it done” — look for someone who can think with you. A good designer isn’t just creative — they’re a translator between intention and execution, between complexity and clarity. When selecting a designer, ask: Do they listen deeply? Can they challenge me with respect? Do they understand our users and our context? Can they connect design with strategy? And once you start working together, treat them not as an outsider but as a co-pilot. Share your fears, your constraints, your ambitions. Because the best results come when there’s trust, transparency and shared purpose.
DI: Can you talk a little about your design process?
ID : Our process is always tailored, but never improvised. It typically follows four phases: Immerse – We explore the context, listen to stakeholders, uncover tensions and decode user behavior. Frame – We define the challenge clearly, set design principles, and align on what success looks like. Create – We ideate, prototype, iterate. We fail early and often — but always in a way that moves us forward. Deliver – We refine the solution, connect it with reality, and build the assets or systems to bring it to life. But more than steps, we focus on mindsets: curiosity, coherence, and courage. Because for us, design is not about ticking boxes — it’s about creating meaningful transformation.
DI: Can you describe a day in your life?
ID : No two days are the same — and that’s exactly why I chose this path. A typical day starts early, with coffee and silence. I like to begin by thinking, writing or sketching before the noise begins. Then it’s usually a mix of team sessions, design reviews, strategic meetings with clients or partners, and moments of focused work in the studio. If possible, I carve out space for field visits, materials exploration or conversations that go beyond the project itself — that’s where the unexpected insights often appear. I end the day reviewing what we’ve moved forward — not just in tasks, but in meaning. And I try to disconnect at night by cooking, reading, or spending time with my family. For me, design is not something I do between 7 and 15 — it’s a lens through which I observe and shape the day.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
ID : Don’t rush to find your style — find your voice and your questions. Be curious about everything. Learn to listen — deeply. Not just to users, but to materials, processes, markets, and your own intuition. Understand that design is not about you — it’s about what you make possible for others. Work with people who are better than you, and don’t be afraid to be wrong — some of your best insights will come from failure, tension or discomfort. And above all: protect your capacity to wonder. The world doesn’t need more polished portfolios — it needs designers who care, who think critically, and who dare to imagine a different tomorrow.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
ID : The positive: You have the power to translate vision into reality, and make people’s lives better — even in small, invisible ways. Design gives you a passport to explore any field, any industry, any culture. You become a bridge between people, ideas and possibilities. The negative: The emotional weight. You are constantly dealing with ambiguity, rejection, deadlines, and the pressure to make something not only work — but matter. And sometimes, the value of design is underestimated. You have to fight for it. Advocate for it. Educate others about it. That’s part of the job. But for me, it’s worth it — because design, when done with purpose, leaves a trace that goes beyond the object.
DI: What is your "golden rule" in design?
ID : If it doesn’t connect, it doesn’t matter. Design must connect with people, with context, with meaning. Without that connection — emotional, functional, or symbolic — even the most beautiful design is just decoration. At IDEA DESIGN, we believe that true design is not only seen — it’s felt, understood and remembered. And that happens when you design with empathy, with clarity, and with purpose.
DI: What skills are most important for a designer?
ID : More than technical skills, the most essential are human and strategic skills. Empathy: To understand people beyond what they say. Critical thinking: To question assumptions and frame the right problems. Visual and narrative clarity: To communicate complex ideas in meaningful ways. Adaptability: To work across contexts, cultures, technologies and teams. Curiosity: To never stop learning — because design is evolution. Of course, tools matter. But tools change. Mindsets endure.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
ID : Our toolbox is hybrid — analog and digital, intuitive and technical. Software: Rhino, SolidEdge, KeyShot, Illustrator, Miro. Hardware: Sketchbooks, 3D printers, digital tablets, material samples. Methods: Co-creation workshops, field observation, speculative prototyping. Books: I return often to classics like Design as Art (Munari), The Timeless Way of Building (Alexander), and more contemporary voices on systems thinking, behavioral science and regenerative futures. But above all, our best tools are conversations — listening to clients, users and collaborators — and testing ideas fast and early.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
ID : By framing clearly, prioritizing wisely, and embracing iteration. We try to define the problem space deeply before diving into solutions. That clarity saves time later. Then we structure our process into sprints, with specific goals per phase. We leave room for iteration — because we know the first idea is rarely the right one — but we also decide intentionally when to stop exploring and start committing. And finally, we understand that creativity needs rest. Managing time is not just about efficiency — it’s about energy, rhythm and focus.
DI: How long does it take to design an object from beginning to end?
ID : It depends on complexity, context, and ambition. Some objects take 3 to 4 weeks from concept to prototype when the goal is speed and learning. Others may require 6 to 12 months if we are working on regulated sectors like health, or integrating advanced technology, or co-developing with partners. But more important than the total time is the structure of that time — how we allocate energy between exploration, decision, iteration and validation. At IDEA DESIGN, we don’t measure by weeks — we measure by depth and alignment.
DI: What is the most frequently asked question to you, as a designer?
ID : "Can you make it look good?" To which I usually answer: “We can — but first, let’s make sure it means something.” People often associate design with aesthetics, but our role goes deeper: we help companies and teams understand what to build and why — not just how it looks. So we turn the conversation from surface to strategy. And that shift changes everything.
DI: What type of design work do you enjoy the most and why?
ID : I enjoy working at the edge — where business, technology and human experience meet. That’s why I’m drawn to strategic product design, health-tech innovation, and systemic service design. These areas challenge me to think beyond objects and design for behaviors, emotions and impact. What I love most is when design becomes a catalyst for transformation — when a project is not just about delivering something new, but about redefining what’s possible.
DI: Do you work as a team, or do you develop your designs yourself?
ID : Always as a team. IDEA DESIGN was built as a collective of minds, not a solo signature. We believe that diversity of thought, background and skill enriches every project. I may lead the vision or direction, but the richness comes from dialogue, friction and collaboration — with our internal team, with our clients, and with external experts. Great design is never the result of a single hand — it’s the result of shared intention.
DI: How can people contact you?
ID : People can contact us through our website: www.ideadesign.es Email: hello@ideadesign.es LinkedIn: IDEA DESIGN MINDSET We’re always open to new conversations, collaborations, and shared challenges.
DI: Any other things you would like to cover that have not been covered in these questions?
ID : Perhaps just this: Design is not only what we do — it’s how we relate to the world. At IDEA DESIGN, we see every project as an opportunity to reconnect purpose, people and progress. We believe that design should be generous, bold and regenerative. And that’s what drives us — not just to create beautiful things, but to create better futures.