Adam Kvaček

Back in December, we met Adam at the Alcova Art Fair, where his study, The Paradox of Isoëtes, was on display. Adam has been a design focused researcher for four years and earned his Master’s degree at UMPRUM – the Academy of Arts, Architecture, and Design in Prague, the city he still calls home. We caught up with Adam after the winter flurry of art shows to explore his professional journey. Meet Adam.

Original image provided by Adam. Photographed by Šimona Němečková

DS: Hi Adam! It was so nice meeting you in Miami. Thanks for joining us for an interview. Can you give us an overview of your background and what you focus on?

AK: Of course. I’m a multidisciplinary designer focusing mainly on research-based design, installation and exhibition design, as well as accessory and furniture design.

DS: Such a thorough and well-rounded education! Where do you find inspiration for your work?

AK: I draw inspiration from my past, the stories I’ve lived, and the people around me. Conversations and discussions often serve as a catalyst, I am really a debater. When I propose something, it has to resonate with me and make sense within the story I’m trying to tell. For example, The Paradox of Isoëtes, which I presented at Alcova Miami, is a good example of storytelling that creates overlaps and gives people something to reflect on.

DS: It was such a interesting project to view at the fair. Let’s dig into that. How did you become interested in the Isoëtes? How did your project begin?

AK: Well, Isoëtes have a perfect story of origin so it fits perfectly with what the project is trying to say. My project began out of pure curiosity. I come from a family of scientists, particularly natural scientists. Both my father and grandfather were paleobotanists, studying ancient fossil plants preserved in stone. I was always fascinated by that. Paleobotany allows you to trace the evolution of different species and view the world on an immense timescale—it makes you realize just how small a part humans play in the grand scheme of things.

Many species studied in paleobotany are long extinct. What intrigued me most, though, were those ancient species that still exist today—so-called “living fossils” or relict species. I wasn’t just fascinated by the plants themselves, but by how humans interact with them. We try to fit them into our own classification systems, even when they don’t quite fit. At the same time, we treat them as treasures—something to be preserved through nature reserves or botanical gardens, for instance.

But no one ever asked these species if they wanted to be saved. Of course, it’s a simplification, it highlights humanity’s need to preserve, nurture, and conserve species that, left alone, might simply follow a natural path toward extinction. I chose Isoëtes, also known as quillworts, because they’re a perfect example. In Czechia, they’re critically endangered relics from the Ice Age, now surviving in just a single glacial lake.

Cutlery upcycled from quillworts in the Isotes exhibition. Photographed by Šimona Němečková.

DS: Your approach to conservation is interesting, raising the question of whether or not species should fade into extinction as a natural phase or if we fight to save them. Regarding general problem solving through design, what’s your perspective there?

AK: Well, design, as a creative practice, is powerful because of its ability to capture public attention. I believe this quality can be especially valuable in two key ways.

First, design can serve as a tool to open up complex issues and present them to the public in an engaging way that draws the viewer in. It can raise awareness, provoke critical thinking, and present problems in their full context. This is crucial because when dealing with a topic that people haven’t even begun to consider, the first step is to make them aware of the issue and show it from multiple perspectives. Offering a solution too early can be counterproductive, as people might accept the solution without fully understanding why the issue deserves attention. Perhaps the solution is far beyond the capabilities of individuals, or the issue may not even require a solution. What’s important is that we act in the future with a greater awareness of the problem. At this stage, the goal is to make the topic resonate with the audience, much like an investigative journalist writing an article. This is often the role of speculative or critical design.

Second, design can function as a practical tool for addressing systemic problems—not just consumer-focused issues, like making a screwdriver more ergonomic, but broader challenges, such as social inequality. Disciplines like Transition Design embody this approach, aiming to tackle change on a systemic level. Solving such problems requires assembling experts from various fields, finding points of intersection, and working step by step toward solutions. But for this process to begin, you first need the support of a public that understands the issue and feels the need to solve it.

I see myself more in that first part of the process personally.

DS: That’s so true and you make interesting points - there needs to be an understood and acknowledged problem and make people feel inspired to action. On a related note, what do you love the most about your job?

AK: What I love most is that moment when a project reaches the point where you have to fully immerse yourself in it. I love it when I can hyper-focus on a specific part—let’s call it a “diving spot”—and really dive deep. There’s something incredibly inspiring about observing scientific research firsthand, especially when collaborating with experts who are deeply knowledgeable in their field. You get to listen and ask unusual questions, and they’re often genuinely excited to share their expertise with someone outside their immediate circle. It’s very inspiring to observe scientists at work in their laboratories.

DS: Regarding your work so far, what project are you most proud of?

AK: It’s hard to name just one project—I’m proud of each for different reasons. Some are more research-based, like The Paradox of Isoëtes. I’m grateful that this speculative research has received so much attention. On the other hand, The Cattail Propaganda project gave me a sense of accomplishment because it highlighted cattail as an attractive alternative in fashion and drew attention to the technique of cattail weaving. It will be exhibited in Liechtenstein and Hong Kong this year.

Right now, I’m deeply invested in a creative platform I’m working on with my friends and colleagues called Apor, which we use to produce cultural events. It’s by far the project I feel most passionate about.

Scenes from the Alcova exhibition. Photographed by Šimona Němečková

DS: Oh fantastic, keep us posted on that platform so we can support your events and activities. So let’s shift focus to emerging professionals, what advice would you give to aspiring creatives and researchers?

AK: I don’t see myself as someone who should hand out advice, but I believe it’s important to go with the flow and use your personality to shape your work. Let your “vibe” guide your process. You’re not going to change who you are, so it’s better to embrace how your mind works and create a dialogue with yourself as part of the process.

DS: Speaking of vibes, let’s talk about travel. Where are some places you find inspiring, where the vibes are just right?

AK: First is Prague. That’s easy. I love it with all my heart. The people, the energy... it’s a calm city, but there’s always something happening. There are endless places to discover, even after living here most of my life—from classic café-bars and galleries surrounded by their communities and diverse subcultures. I especially like neighborhoods like Vršovice and Žižkov, where some of the most important moments in my life took place, like when I started studying design in high school. 

The second is probably Milan. Not just for its design legacy, but also for the vibrant street life—markets, restaurants, bistros, and gardens. And of course, design and fashion are everywhere—it surrounds you. Third, Osaka. I’ve only been once, but it left a big impression. It’s different from Tokyo—more natural and relaxed, in my opinion. I have vivid memories of spending time with friends there, meeting chill people, and discovering unique design spots. 

There are many interesting cities, but these came to mind first. I also really like Balkan cities like Split or Ljubljana, and the UK, where I spent part of my childhood in Milton Keynes with its strange, artificial urbanism. Logroño in Spain for its La Rioja wine, and Tbilisi in Georgia for its warm-hearted and welcoming people, and the beautiful mountains.

DS: Great suggestions, we’ve got a few to add to our travel list. What about people? Who are some creatives over time that you find interesting?

AK: Sure. When I say interesting, I don’t necessarily mean I admire these individuals, as I don’t know them personally. But their work has influenced me. For example, Liam Young is one such figure. His storytelling and audiovisual work impressed me a lot, especially while I was working on The Paradox of Isoëtes.

I’m also drawn to Studio Formafantasma for their subtle yet powerful visual language, which allows them to tell compelling stories through both products and research. Another project that inspired me is 75 Watt by Revital Cohen and Tuur van Balen. I was drawn to how it blends a sense of bittersweet monotony that gradually evolves into absurd redundancy.

On the note of absurd or humorous design, David Mallon and Karin Oender of the Berlin-based Souvenir Official brand are worth mentioning. They don’t shy away from politics and use subtle humor to address topics like the separation of the United Kingdom from the European Union, as well as other social and environmental issues—often through their clothing.

Finally, Thomas Subreville and The Ill Studio, which he co-founded with Leonard Vernhet, inspire me with their multidisciplinary (or post-disciplinary) approach, the systemic nature of their work, and the broad scope they embrace.

DS: Thank you, Adam! We appreciate your time and wish you all the best on your upcoming exhibitions.

Find Adam:

Instagram: @adamkvacek_