Tom, you have created architecture for a long time. In what way does this influence your work as a designer?
As with many other architects the design is being strongly influenced. You literally speak of architects’ design. So you just feel if an object was created by a trained industrial designer or rather by an architect. Because an architect is used to thinking in bigger dimensions, he doesn’t give that much attention to detail and the form of an object. He has a rather skeptical approach to design and tries to integrate other parameters. A designer doesn’t fundamentally question the function, but tries to revive it with a bold form. The architect is obsessed with philosophic thoughts about behaviours, spaces for movement and everyday functionality, obviously with various degrees of success.
And that has to to do with the Dimensions?
Of course. The architect is a general planner and the bigger the matter he is planning, the more conscious he becomes about the processes involved. He has to consider time, space and approaches. He always has to bare the parameters which can influence the procedure in mind. All of this together has a higher complexity. This leads to solutions which indeed express themselves in a certain style, but point out to the actual application stronger. And exactly that is what my objects shall do.
Your dwelling objects move away from the established prospect. Doing this, you seem to be inventing completely new types of furniture as for example the “Wohnwagen”. What exactly is your goal creating those dwelling objects? And what is your approach to this?
It’s all about performance. You could say, I see the use the object highly stylised. We are actually not aware of the meaning of handling as well as the meaning of an objects independent existence. The rituals of Zen Buddhism clarify this fact. A good example is the art of archery. What is the point there? The point is to empathise the course of movement and to bring it to perfection step by step. Thereby you gain consciousness of the extensive interaction between your own body and the bow. Only such consciousness allows a deeper relationship to items: you start to appreciate them, you develop feelings. With my objects I want to implement such association with things.
Can you explain this process of conditioning on the basis of one of your objects?
I have developed a light which you carry like a flag or a torch. The illuminant soars above your head as a trophy. It demonstrates solemn might and emblematises the power over light like a torch. In contrast to this, the light has the weakness to fall over when not supported by a wall. The lance-like rod suggests further power blended with slick elegance – the one of a weapon – also resembling the handling of a stick. You will find various associations. The more there are, the more emotional the response towards the object will be.