British designer Paul Smith chooses 3 objects from London’s V&A Museum that inspire him. He is well known for his use of colour and stripes, applying this throughout his designs and incorporating it into interior design, fashion and even cars. Paul Smith has become a very successful brand ranging from men’s fashion to interior design.
At the annual BIID conference Paul Smith gave an impressive speech about contemporary design and the future of interior design.
He stated that
“We design for a home not a house”
Emphasising that designers must not only think about style but also comfort and practicality. He also stated that it is important to do things because they are right rather than because they are easy, steering designers away from being lazy.
A lasting practical interior is of course much more valuable and most likely more comfortable than something purely aesthetic. However there needs to be a link between the two allowing beautiful interiors to also be functional and fitting for the home.
The annual conference focused mostly on the state of contemporary design and where things will progress from the present.
Paul Smith spoke about the advantages of collaborations, bringing together a variety of expertise. Working with other interior designers can be a huge advantage and can trigger new areas of creativity and style.
He described the human mind as cluttered saying
“the inside of our brain is like a room full of things”
but claimed that this mix of contrasts is complementary and can be used to be very positive.
Paul Smith said, maybe most importantly, that it is crucial for interior designers to understand the client’s brief. A good interior designer can understand what his clients want and pulls the brief out from under them.
They must listen to their words and try to dig deeper and get inside their heads to really get a sense of what the client envisions, taking into account all the different aspects of the brief.
He recently designed the interior of Maggie’s Centre for cancer care in Nottingham, England, which is designed essentially for living.
Paul Smith sought to create a comfortable and thought provoking style that also functions to create an atmosphere where both patients and family can relax.
Celebrating British Design
Annual Conference British Institute of Interior Design
June 21st, 2012
Glenn Adamson, head of research at the Victoria & Albert Museum in London, presented a very intriguing view of British interior and furniture design referencing the current exhibition of ‘British Design’ and the recent ‘Postmodernism: Style and Subversion 1970 to 1990’ at the Victoria and Albert Museum, London. He also referred to the Geffrye Museum in London.
‘Period rooms’ and exhibitions allow us to see interior and furniture design from the point of view of a museum installation. Museums are able to present normally subjective designs’ that follow fashion and trends of their day in an objective way. However opinions on what periods had good or bad interior design are largely based on an individuals taste and background. The nature of design, being often derived or evolved from past and or contemporary influences, makes it difficult to predict the future of interior & furniture design let alone discuss our present state.
Glenn’s presentation gave an overview of British design from the 20th century. He stated that the 21st century is still too much upon us to be retrospective, but the hot topic of ‘where are we now?’ was very provocative to an audience actively involved with contemporary design.
The most current interior design period room installation at the Geffrye museum shows a ‘loft style’ room. In the age of minimalist influence, the mundane has become the norm with the abundance of Ikea furniture, off white walls and large flat screen TVs acting as a focal point to the sterile ‘modern’ sitting room. Viewing this exhibit one could surmise that interior design is no longer in it’s prime at the end of the 20th Century as it continues into the early 21st.
I cannot agree more with Glenn that we are now in a fragmented if not transitional period of design where the ‘the visual’ has taken over and it could be said we ‘have too much choice now’. Could this arguably be seen as a positive influence for Interior and furniture design as it follows society itself? If we are now global, interconnected and have access to more information than ever in the history of mankind, is it not natural that we would appear to be fragmented and chaotic? Is this the result of adjusting to the information shift in human communication and even our evolution?
It would also be expected that we would look backwards for comfort in times of change, mixing in our own snippets from the ‘information overload’. Perhaps upcycling could define our current state where the past, present and awareness of our impact on the environment come together in an individualistic way where each piece is unique. A reaction to mass production and a combination of existing elements that are more visual than designed for function or well crafted. Is the loss and lack of craftsmanship affecting our standards of interior and furniture design?
The presentation raised a lot of questions and gave the audience a lot to think about. Glenn concluded his talk by proposing a cliff hanger for the audience: ‘What do we do now?’ His answer: ‘design with character and integrity are needed’.