Genuine Design

Kayne Elisabeth Rourke  - Second Place Winner

The M2L Genuine Design panel discussion sheds light on a harsh reality facing the design profession today.  While genuine design is an open discussion in other creative disciplines, namely art & fashion, the interior design and home furnishings world has not acknowledged these concerns as openly as it should.  This important panel discussion, addressing the design community’s limited awareness on the issues surrounding genuine design, should be seen by all designers to spurn an open dialogue on how to address these issues on all design projects.

In this essay I am proposing several crucial steps to be followed in the initial design stages.  My approach unfolds in a series of conversations and visits meant to educate the client before actual design work is initiated.

STEP 1: Opening Discussion: Elements of Good Design

As stated by Mr. Benjamin Noriega-Ortiz, working with residential clients provides the designer with complete control over the process – unlike contract work, the designer purchases all pieces for the project, versus using an outside agent.  The designer can be assured that what they specify will be delivered.  This, combined with a client who is already well-versed in good design, makes for a great scenario.  The ideal elements are in place – it is up to the designer to orchestrate the project to ensure these factors can live up to their potential, and this starts with some upfront discussion.

Any good designer automatically starts a project by doing their homework with a client – that is, getting beyond the requested aesthetics of a project and finding out the real design needs behind it.  In this scenario, a residential client has requested an update to their penthouse apartment.  They “appreciate” high-end modern design, yet require you to stick to a budget.  This can be interpreted as meaning that design quality is important to them, but aesthetically it can be realized in lesser-known, more economical pieces if the design integrity is intact.

I would start by providing comparisons to products they may be more familiar with.  For example, what are the characteristics of a flawless diamond?  Why is it worth more and what makes it unique?  Another great example that could be referenced is the wine industry – a truly special vintage is created from a variety of factors: soil, climate, vintner, and aging process.  It’s a constant trial-and-error, where man and nature must work together to create a perfect specimen.  Given all of the variables, it is truly amazing when all of the elements work together to create a spectacular wine.

In much the same way, good design is a process of trial-and-error.  After initial project parameters are reviewed, including intended use of the product, initial sketches result in the development of numerous prototypes, perfecting dimensions, changing materials, and working with both to get to an end result that works for the client as well as the designer.

One of my favorite examples of this process is exemplified in the development of Philippe Starck’s Juicy Salif lemon squeezer, an iconic object whose development was commissioned by the Italian design firm, Alessi.  The initial project brief sent to Starck was for a silver serving tray.  Months went by, with no sketches from Starck – he simply stated that he had not been inspired by anything yet and would be in contact when he was.  Some time later, Alessi received a series of sketches from Starck, inspired by his vacation in Italy, where he and his family frequently enjoyed calamari lunches on the Italian coast.  The sketch series arrived on a grease-spattered placement from one of the restaurants they frequented during the trip.

The infamous “napkin sketch” developed into the octopus-like lemon juicer, designed in 1989 and still one of Alessi’s Top 10 sellers.

This initial discussion serves to spark the imaginations of the client, helping them to understand how original designs get concepted and developed.

STEP 2: Surveying the Field

With this initial discussion under our belt, I would suggest to the client that we take a field trip to see some actual examples of well-designed objects and furnishings.

Museum of Modern Art (MoMA) – Capitalizing on the client’s stated interest in Modern design, a trip to MoMA’s Architecture and Design collection would be a perfect place to start.  Although the client would most likely be familiar with the permanent collection, a walk-through and review of the pieces involved in the collection, and why they are museum-worthy, would be beneficial.

As part of this conversation, I would mention that many auctioned originals cost less than reproductions, and thus auctions of original designs should be explored during a design project.  Take the new REAL MODERN auction, introduced in February of this year by Sollo Rago Modern Auctions in New Jersey.  The idea is to help younger buyers furnish an apartment without breaking the bank, and doing so with furniture and decorative arts from leading designers of the 20th century.  A pair of Mies’ Barcelona chairs sold for $3,250, much lower than the current Knoll pricing of $4,655 for one chair.  Reproductions or knock-offs resell for much less than the purchasing price, whereas originals almost always hold their value over time, often demanding more when resold than the original purchase price.  Plus, for clients with environmental concerns, the re-use of originals is always the better option versus using materials for new reproductions.

Showroom Visits – Knoll, Vitra, Fritz Hansen - I would suggest some showroom visits for the next part of our journey, choosing the ones listed here for their strong design history, international reputation, and, practically speaking, the willingness of the showroom staff to tour potential clients around the showroom and answer their questions.    Knoll’s history with iconic designers such as Alvar Aalto, Harry Bertoia, and Isamu Noguchi would support the educational intent of the visit.  Vitra’s world-renowned history with designers and the company’s love of a well-designed chair is truly inspiring, and Vitra’s openness with explaining the design process, prototyping, and thus pricing of their chairs helps to further explain the design process to the client.  And at Fritz Hansen, a viewing of Arne Jacobsen’s Series 7 chair would be a perfect setup for comparison to a knock-off piece, as seen in the next stage of our visit.

Retail Visit - CB2 - Crate & Barrel’s newest concept store, based on “affordable modern furniture,” would be a good visit for comparison of knock-offs versus the originals seen in the showrooms.  A specific example I would show the client is the Toro chair,  a knock-off of Arne Jacobsen’s Series 7 chair seen in Fritz Hansen.   Priced at $89.95, the chair description of an “Ode to Arne” directly  references Jacobsen, while the shape, dimensions, and materials are  clearly different from the original design.  Sitting in both would be a great comparison for the client.  And again, referencing back to the auction information, it would be yet another example of not only a  different sit and feel for the product, but a difference in lifetime value.

STEP 3: The Cost of Genuine Design

At this point, we have covered the major point of the argument – that genuine design matters, and knock-offs, while affordable and sometimes easier to obtain, do not live up to the original product.    Thus, the final step in these discussions is the question of price in comparison to genuine design.

Up until now, the discussion has concerned iconic furniture & products with high price points – yet does genuine design always equate to high prices?  Since this is always a concern for clients, and has been particularly noted in this scenario, it serves as the final point to be made in the discussion.

A great example of affordable, genuine design is in IKEA’s products.  IKEA has built a worldwide reputation of interesting design at an affordable price.  While many people debate the quality of IKEA merchandise overall, many items within their product lines are known to be consistently well-made and reasonably priced.  Their products could be introduced into a project to add whimsy, interest, and discussion to an otherwise over-designed interior.  IKEA’s design process is simple – the company states, “At IKEA we design the price tag first and then develop the product to suit that price.”  By ensuring that price, production methods, and materials are considered in tandem, they use value engineering in a smart and consistent way.    Also, recognition of the product designers helps to bring a connection between the design and its originator.

Conversely, Muji, a Japanese housewares-to-clothing chain known for their simple design and minimal marketing, chooses to work with big-name designers for some of their products, yet does not call out their association with the company.  Harkening back to the company’s name, Mujirushi Ryohin, meaning “no label, quality goods,” Muji keeps prices low by using simple materials and production methods, like Ikea, but chooses to forgo the marketing of big names to pare down the cost, letting their products speak for themselves.

Genuine Design. Period.

Much like the very popular farmer’s market farm-to-table concept that is now catching on in smaller demographic markets in addition to larger urban ones, the connection between and product and the original designer, or source, is gaining mass appeal.  Knowing the history of a well-designed product provides consumers with a connection to the origin of the product, increasing its intrinsic value as well as its monetary one.

Starting the design process from an educational and research perspective, the steps described above lay the foundation for subsequent design development and product selection conversations throughout the project.  They also educate the client on all options within genuine design, allowing for freedom and flexibility in the product, while keeping the basic tenets of genuine design at the forefront of all project discussions.

RESOURCES
“Barcelona Chair Matrix.” Modern Furniture Classics website, 08 March 2009.
“CB2 Toro Chair.” CB2 website, 07 March 2009.
“Ease of Buying at Auction.” Auction Central News, 12 November 2008.
“IKEA PS Gullholmen Chair.” Ikea website
“Top designers. No Brands.” Fast Company website 19 December 2007.