My ideal product applications are the ones which transform in response to the variations of nature says Dutch Designer Robert Van Embricqs.
The Rising Chair led to the rise of your career worldwide, what led you to create this design marvel?
As a child, everything seemed possible and I used my imagination to shape my own world. However, the creative process is something most people lose once we mature and we leave it up to the designers to shape the world around us. Then there is a cultural influence too which tends to shape our inclination to design and also the ways and methods to design or perceive an end product. In designing the Rising chair, my own imagination and the wood working techniques of the Maroons in Suriname, a place where I was born, have played a major role.
The reception of the Rising Chair led you to put this piece into production, how easy or difficult was that part of the task?
Having a good idea is one thing, to execute it and make it available in the market is another. For a lay man, the Rising Chair is simply an object put together by a couple of wooden beams connected to a certain number of hinges. However, when you dwell on the details, you realize there is more to it. Parts like the rounded corners for more comfort, the finish options and the cutouts for the hinges etc. This furniture piece attracts art lovers and people who prefer adorning their commercial and living spaces with unique objects. For now, the production of the Rising Chair is being kept exclusive while having an open mind set on how to reach a bigger audience.
Looking at your creations would it be right to say that apart from others, mobility and flexibility are two important elements of your design? are you also inspired by parametric/computational design?
Initially when I started developing the Rising Chair, my goal was not to make a practical folding furniture. Mobility became an important element once I finished creating the design and noticed the benefits of its flat pack capabilities. On the other hand, flexibility has always been an important aspect for me, it gives me the opportunity to become aware of the limitations of the material I am working with. It allows me to understand to what degree a design innovation is possible using it. The material has a lot of say on the infinite design possibilities which exist and also the ones which can be practically realized.
Parametric/computational design does intrigue me because every single element becomes part of a rhythm to create the final shape. This design reflects in the miniature paper models of the Rising Chair too. This synchronic behavior can be represented as a 3d model on a computer and studied further to look at some other design options which may be possible.
Who are some of your favorite architects and designers?
I usually tend to be attracted to designers who showcase simplicity in their designs. Then there are different architects and designers who have powerful ways to show the world how to deal with human desires and behaviors. Revolutionary thinkers like Charles and Ray Eames serve as a novel example on how to make furniture molds for reproduction and how to position yourself in the competitive world of design.
Simon Velez, a Colombian architect is another architect I adore, he creates amazing pavilions made out of bamboo. He did extensive research on this material to find out what is possible and succeeded in extending his own design borders.
In contemporary design how much role does the cultural roots of a designer and the associated traditional design come into play?
Many a times designs influenced by one’s culture gets represented in the ornaments or details of everyday objects. But what survives over a longer time period is the technique involved in designing it, these techniques are utilized to create contemporary products as well.
I was born in Suriname and moved to the Netherlands when I was 8. In Suriname it is mainly the Maroons, descendants of the runaway slaves, who have managed to set up their own ingenious wood industry. They are known for wood carvings that are sold to tourists in the big city. One of their creations is a folding seat. The stop and fold technique have been cleverly incorporated into this seat and still stand strong by this day.
I was much inspired by the use of natural material and the folding design when I created the Rising Chair and this in a way shows that traditional design can become the next step in future design.
You chose to use a sustainable material like bamboo to design your product, having said that in contemporary interior accessories to what extent can one choose sustainable materials over other available options without cost escalation?
The world of sustainable materials is growing fast and suppliers offer materials that are more user friendly than ever before. They also adjust and create natural material compositions to make it easier for the designers to apply this onto their products. My first prototype was made out of Ashwood for its natural look and flexibility which makes it easy to work with. The first production of the Rising Chair was made out of bamboo and had its benefits and disadvantages. Due to the rigidness of bamboo, the chair could endure a lot in terms of scratches, however the solid bamboo made the chair heavy and less flexible compared to wood.
As a design professional when you look at the product design scene, is it all good or are there shortcomings which need to be addressed?
Every design approach is different in its function or material use. At the end of the day its utility is determined by the end user. This acceptance of a product determines its success or failure. With regards to producing the product, the designer, alone cannot do it all. To ensure that the end-product is made available to the target audience for purchase, a producer is necessary. As a designer it is also necessary to network and collaborate with the right manufacturer, one who is specialized in furniture production and shares your passion.
Whether a product can fit into the mainstream furniture market and become successful or will be perceived by a smaller group of people is another story but to be able to make it available for the customers in the first place is another. I have seen many good ideas that have not succeeded at a global level simply due to the lack of a good network.
What kind of products are you designing now? Can you tell us something about your design collaboration with architect Boye Mutsaerts?
I am adding newer products to the Rising Furniture collection. More so, because working from home now has become a trend. One of the products is a folding cabinet which is clever combination of functionality and aesthetics.
Boye Mutsearts is a Dutch Interior Architect and I have known him for many years. His taste in furniture design and the way he comprehends contemporary interiors is superb. He has thought me the importance of listening to my target audience.
Going forward what kind of work would you like to do in furniture design, would you be looking at other sustainable materials too?
My ideal product applications are the ones which transform in response to the variations of nature. Factors like sunshine, wind, rain or snow come into play. Some examples of such a product can be a filter skylight ceiling system, a roof extension or a wind shield that can adjust itself depending on the direction of the wind. In designing such products, the principles of both architecture and product design need a through consideration, it’s an amalgamation of sorts. One of the key factors is also to ensure that my newer designs integrate well with the surroundings in question. Likewise, I am keen on utilizing sustainable materials in designing such products. So that the end-user can take pride in owning something that is not just innovative but also eco-friendly.
What kind of design education would you advise young designers to take up? What mantra of success would you like to share with them?
The design world changes rapidly. Having said that, these days, the internet too offers a lot of knowledge on ways and methods to make unique pieces of furniture. For young designers, it is essential to carve a design path that will allow them to create exclusive products. It is necessary to pay attention to the material itself. A collaboration between the designer and the material can sometimes result in creation of surprising masterpieces. Young designers should also ensure that they make a good first impression when they present their work. Whether it is an image or a video of the end product as also the design process itself, if well made it remains etched in the mind of the audience for life. As an individual, every young designer needs to discover what is the best way to make his/her work shine and steal the show.
Connect Online @ www.robertvanembricqs.com
