“The main thing is always the concept,” says Vitalii Borisov, founder of KIST.DESIGN, the studio behind the acclaimed restaurant Taro.
The Prague-based studio KIST.DESIGN has developed design concepts for successful restaurants such as Taro, Spojka Karlín, DiAn, or Dean & David MAJ, and is collecting one award after another. Young architect Vitalii Borisov founded it only a few years ago, and he is already ready to step beyond the Czech market. In an interview with Forbes Life, he shared his path to success and his vision for the future.
How did your path into architecture and design unfold?
I started with commissioned mural paintings — creating wall art for cafés, restaurants, and other spaces. Gradually I began thinking more about the overall interior design, especially of places where people meet. That’s why I decided to study architecture, to approach interiors also from that perspective.
I’m originally from Kaliningrad, where I studied architecture at university, but there weren’t many opportunities for creativity. In 2014 I moved to Prague and continued studying architecture at CVUT. I didn’t finish my degree — after two years I switched completely to practice, gradually moving away from pure architecture into interior design.
What was the turning point when you decided to establish your own studio?
I founded KIST.DESIGN in 2018, when I already had some experience with clients and the confidence that I could manage. My first commissions came from friends who wanted bar redesigns. That gave me references and proved that I could work with atmosphere.
Then came clients who were opening new venues from scratch. The first major project, after which I officially started the studio, was the multifunctional space Endorfin. I saw it being born in front of my eyes, like a sculpture. The client (who I still collaborate with today) trusted me then, was satisfied with the result, and involved me in his other projects.
Another milestone was Spojka Karlín. By then the studio was running smoothly, clients trusted our approach, and new commissions started flowing. The latest big project was Taro.
What projects are you working on now?
We continue our collaboration with the Dean & David bistro franchise. The style was already set; we just adapted it slightly for the Czech market. In September, a new branch will open on V Celnici, where we worked with a very tricky space. Two more are planned before the end of the year.
We are also engaged in several developer projects and are negotiating others still in progress.
Where do new clients come from?
Some come through recommendations, others through social media and media publications. Roughly half of our clients already have a space they want to redesign; the other half invite us at the very beginning, to create a concept from scratch or develop their idea.
I like to think everything through in detail: who will come here, what will happen here. But Czech investors are still not used to incorporating a full-fledged design concept at the start — they often think of it as just part of architecture.
Is there a unifying element in your projects?
Each project is unique and requires its own approach — I don’t try to make them look alike. Much depends on the specific space. I try to step aside from my ego, not impose a “signature style,” but search for what suits the project best.
That said, people tell me that my handwriting is still recognizable.
How would you describe that “handwriting”?
After finishing Endorfin, which was quite industrial, clients started coming to me asking for something similar. In Spojka, I used industrial elements too but added a lot of greenery. After that, clients started asking specifically for greenery.
But I don’t want to repeat myself. I always say upfront that I won’t do another Spojka or Endorfin, only something original, unique to the client. The main rule: when someone enters the space, they must feel a distinctive atmosphere. That’s why people come to us.
What creates atmosphere in interiors? Do details matter?
The overall feeling comes from many factors. Materials are very important — especially in restaurants, where things work not only visually but also tactilely. We think about what people will touch and how it will feel.
We mostly use natural materials — perhaps that is the connecting element in our work. I choose muted natural colors with subtle accents.
Lighting plays a huge role. We carefully plan every source of light and its effect on people.
Do you see any trends in client demands?
Most of all, they want visitors to feel comfortable. The space shouldn’t be overly luxurious, so as not to intimidate. Everyone loves greenery — natural elements always work.
In terms of design, clients usually trust us. The main limiting factor is time: everyone wants the project done as fast as possible.
What kind of projects do you specialize in?
Although we also design housing and offices, our main focus is HoReCa, especially restaurants and bars. In this segment, we already know what works and have reliable partners for technical solutions. More and more, I’m thinking of focusing exclusively on gastronomy projects.
Your restaurant Taro reached the finals of a prestigious international award. What factors led to that success?
In every project, the concept is key. Taro’s owners already had a strong concept — they had opened four venues before, refining it.
They came to us with a clear vision of what they wanted. We had previous experience working together, so they trusted us and gave us freedom. We created everything together.
The location also helped — Palác Dunaj, a unique building in itself. Everything came together and allowed us to create a special atmosphere.
Is concept half the work?
Yes. Everything — from the logo to the website and the menu — is built around it. Half the work is the development of the concept. The rest is technical implementation.
Do you work with permanent partners?
We have trusted suppliers and contractors, but we approach each project individually. We look for those who fit the task best. Clients also often bring their own teams or artists.
How big are the projects you take on?
If it’s just a concept, the minimum starts at CZK 150,000. It’s not “a couple of pictures,” but serious work: analysis, developing options, new ideas.
I explain to clients: if everything is thought through at the beginning, it will affect profits. A good concept attracts people willing to pay more.
Documentation may cost from a million and up. At the realization stage, we always do author supervision, because a project is a living organism that requires adjustments.
How is a concept born?
First, I write something like a script: I imagine myself as a guest entering the restaurant. What do I see? What do I hear? What do I feel?
Then I build on three pillars: idea, form, function. Everything must work — both practically and emotionally for the guest.
I think about details such as the texture of a tabletop or the fabric on a chair, since that’s the first tactile impression.
Do you follow projects after opening?
Yes. When a restaurant launches in test mode, I come, sit, and observe. Sometimes we adjust lighting, acoustics.
For example, at Taro we realized that bar seating lacked privacy. We solved it by changing the direction of the acoustics.
We also changed the bar height so guests could look at the kitchen from above, like in an amphitheater. It turned out to be a great solution.
You have already achieved success beyond the Czech Republic. What’s next?
We are now looking at entering the international restaurant design market. In October we are going to Dubai for the awards ceremony with Taro.
We want to position ourselves on a global level, as in Singapore, where top design is considered the norm. I hope we’ll bring valuable contacts and experience from Dubai that will help elevate gastronomic design in the Czech Republic to a new level.