Ross Didier is a Melbourne based designer, he runs Ross Didier Design which designs one-off pieces for architecture-specific spaces and ranges for manufacturing production for a wide array of clients. In this interview Ross shares his thoughts on dealing with manufacturers, design for manufacture versus design for one off and sustainability in the Australian furniture industry.
Highlights
- “Be prepared, be very, very prepared!”
- “By creating great dialogue, I have found opportunities to clearly hear what the client wants and then share my own creative philosophies to a final stage.”
- “It would be good if the Australian creative scene could be packaged in some intellectual way…”
1.Ross, Welcome to Design Droplets. Thank you for taking the time to talk with me, could you please give me a quick introduction to yourself.
Hi Raph. Good to meet.
Firstly, can I mention that I like your business name. An old friend of mine, that I catch up with once a year, somewhere in the world for a good old creative chin-wag, were talking of such topics of persistence and time a few months ago in London. We were discussing how signature styles develop and concepts mature over time like a dripping tap.
We were detailing this idea of filling the bath quickly where the temperature of the water was either ice cold or boiling hot and then how much energy was required to maintain these temperatures over time compared to the gradual drops of a dripping tap filling the bath at room temperature.
It was a really fascinating topic that left a morning hangover but I really like the journey of creating a body of work over time.
As for Ross Didier : a contract chameleon specialising in product design.
Tiller Chairs
2. Your business stems from family manufacturing enterprises that started out in the 1930s, can you tell us a bit about the transition from manufacture to design service?
A difficult one to define as manufacturing and design are so inter-linked and over 70 years I suppose different personality types that drive a business also carve their future course.
Dice
3. You have exhibited at design fairs including the Milan Salone Satellite and the ICFF, what types of things do designers need to consider if they want to exhibit their wares at these types of shows?
Be prepared, be very, very prepared! Exhibiting internationally is an exhilarating opportunity but very expensive.
You really need to define the agenda that you’re going for and then sometimes wait years to receive results.
Obelisk Sofa
4. What advice do you have for designers who are new to dealing with manufacturers?
I like the relationships that have developed with some manufacturers. The personal link has been the reason why projects have grown and why others have had an expiry date. I find that if the relationship takes root it can be brilliant.
Udder Chandelier
5. You hold BA degrees in Fine Art Sculpture and Industrial Design, what are your thoughts on design versus art?
Design is a conceptual sell out and Art no longer has a relevant voice! Aarrrgh, always a good battle for debate and always capable to ruffle a few feathers but I think it is an inspirational topic to keep alive. Some designers like to blend the two seamlessly and blow over the subject with irrelevance but I like to keep the differences clear.
Elfin
6. You design products for architectural and interior projects, can you tell me a bit about designing for an architectural or interior design project as oppose to designing for straight manufacture and distribution?
Designing for architectural and interior projects is approached as site specific, loaded with all the concerns for one-off practicalities and sometimes fitted installation. Product planned for factory multiples is very much designing for market positioning where choice of materials, manufacturing technique and intended market volume, all effect the final result. When designing for a site specific space the aesthetic is already directed to some degree: the building may be all glass and means that electrical wires need to be concealed from view, or an outside court yard may be very large which requires a grand sized bench to accommodate or simple form chairs are used on mass in a public seating foyer so it does not appear too busy as a single installation. Products for straight manufacture have different priorities, and I often find have a lot more of my own personality imbedded.
Connected Table
7. Two important parts of a project where you are designing for a client are, clear communication and providing support for the client, can you tell us a bit about how you go about this?
I worked in a factory once that had an old poster about making a swing. It showed a picture of what the designer conceived, what the engineer would construct, how the manufacturer would make, what the accountant thought could be afforded, what the children desired, what the council thought appropriate and then finally what the client really wanted. Now, it’s obviously not that easy but this has really stuck at the back of my mind about designing to brief. By creating great dialogue, I have found opportunities to clearly hear what the client wants and then share my own creative philosophies to a final stage.
Lush
8. What are your thoughts on sustainability in the Australian furniture industry?
An undefined area at present and a little messy in management but at least it has started and is on the radar. I look forward to the day when you can confidently specify standard product that is sustainable without question. When all timbers are responsibly plantation grown, plastics and metals have been recycled where capable, polyurethane foams replaced by alternatives, no toxic additives handled by humans and all energy gained from non-depleting sources. These are industries that can grow incredibly and the current combined efforts between scientists, manufactures, inventors and designers are creating a new Renaissance.
Bombala
9. Which up and coming Australian designers do you think people should be watching and why?
I see new designers and older established designers that I think are worthy of more industry credit. The world in general should be watching Australian talent as more are positioned on the international platform and defiantly making ripples on the world scene. It would be good if the Australian creative scene could be packaged in some intellectual way and take on the world like Droog did in Holland, New Britannia did in UK, Belgium, Denmark, etc, but this takes government initiative and guts.
Tongue Lounge
10. Ross, thanks for taking the time to talk with us here at Design Droplets. Do you have any final thoughts or advice for Design Droplets readers?
If you ever need to make the choice of working on a prawn trawler or for Matt Blatt, definitely widen your career horizon and go to sea.
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