SA: Is the house finished? Talk to me about that process? Were you a good client? Did the design of the house influence your work, or visa versa?

JK: Yes, the house is finished after three years and, believe it or not, we actually live there. I could make a comparison to putting a man on the moon or painting the Golden Gate Bridge, but let’s just say … it’s done. Coming from a world where we shape companies or launch global brands sometimes within months, this process seemed quite laborious. And it didn’t help to have experience working with interiors companies such as Interface and Baker Furniture. I almost know too much.

VSA’s 2005 year in review for SVB financial group continues a series of reports that assert the company’s emergence as a leader in financial services. Koval’s concept, “from here to there,”

For the architecture and interior perspective, I think I was a good client. I challenged our architect and my input helped the house quite a bit. On the construction side, I’ve made myself a necessary nuisance. As a designer, you expect everything to be perfect and done immediately. And the construction industry just doesn’t work that way. In the end, the house is a true reflection of my design approach and sensibility—the exterior is old, part of the landscape, romantic; the interior is open, clean and modern.

SA: I like that this is a concrete example of melding your creative with your family. Your family life is clearly your priority. How do you balance these massive projects and their time and travel demands with family?

JK: It’s a challenge, because the pull of doing great work constantly competes with the pull of building a great family. But I do my best. Fortunately, I have a wonderful wife and kids that are understanding and very supportive. And maybe [they have] a little of my design genes, so they get it. They let me pursue what I enjoy, and we take a lot of vacations.

SA: Since coming to VSA in 1990, what was your favorite project personally —and it’s not fair to be politic about this and say “all of them.”

JK: How about “the next one”? How fantastically diplomatic would that be? I guess if I were to step back and think about it, I’d look to see what the criteria for a favorite project would be: moves market, good partners, creative freedom. That’s a tough question. I have to say I don’t fall in love easily, and I typically am most excited about what I’m doing right now. So today, it’s the identity program for Chicago’s bid for the 2016 Olympics. But if I were to look back, one of my most favorite assignments was the first assignment I did with Mohawk Fine Papers to promote Superfine called Luna Bella Luna. It was a project I developed with my good friend, photographer Paul Elledge, and it was just wonderful on every level. It came together quickly. It was well written. The story was true to the people from this remote little town in Italy, and people loved the book. It was the beginning of a 10-plus year relationship partnering with Mohawk, and to this day I still like the piece.

SA: Without naming it, what made your least favorite project not work for you?

JK: Sorry, did you say something?

Chicago Art Project is a nonprofit organization dedicated to chronicling, collecting, exhibiting and advocating the art and artists of Chicago. Koval created a modular identity that functions as a “canvas” for over 20 different typographic interpretations of the word “art.”

SA: You’re good. OK, if I were trying to be hired by VSA, what would you be looking for? And don’t tell Noreen I asked this.

JK: First, the interview process would be oddly similar to this. We spend a lot of time looking for something intangible called fit,” and it generally surfaces in conversation rather than on someone’s resumé. And it greatly depends on the level. With an entry-level designer, it’s pretty straightforward: Good communicator? Highenergy? Decent computer skills? Understand typography? With more senior people, it’s trickier. Where have they worked? How strong is their portfolio? Are they a cultural fit? Can they think like clients? Do they understand typography? Oh, by the way, when can you start?

SA: Before I start, you must know I will only use Tiffany on all projects. So, we’ve established that your work is focused and exquisitely clear, but my big question is can you find anything in your office?

JK: What do you mean? You can find almost anything in my office. My office is sort of an exploded view of my mind. When I’m outside, the world looks clear and linear, but inside, my office needs to be full of stuff—inspiration, business trends, pure imagery, forms, notes, textures, color. And my kids’ drawings. A depth of stuff, because you never know what unexpected connections you’ll need to make. Maybe not knee-deep, but still….