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Interview with Birgit Østergaard |
Home > Designer Interviews > Birgit Østergaard |
Editor Frank Scott (FS) from DesignPRWire has interviewed designer Birgit Østergaard (B) for A’ Design Award and Competition. You can access the full profile of Birgit Østergaard by clicking here.
FS: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
B: In fact I'm autodidact in this field and as such my formal background would be of no interest. However, during the latest 28 years I haven't had any other serious occupation but art and design. I grew up in the countryside and there were absolutely no signs of my future dedication in art and design. I don’t even think my family was aware of the word design and the idea of what an artist was occupied with was of no interest. In my childhood the World still suffered from repercussions from WW2 and lack of any luxury was present. As such, self- sufficiency became a lifestyle for my mother, there knitted and sewed all textiles for both home and personal use and she taught me how to upcycle stuff. Old coats were carefully ripped up, ironed and turned inside out to become a new coat – most often to either my sister or me. Yarn from old sweaters was upcycled to new socks etc. About the age of 7 I knitted my first sweater and at 12 I sewed all my own cloth. At that time no one was aware of the environmental ticking bomb of nowadays consumer society.
FS: Can you tell us more about your company / design studio?
B: I started my artistic career by establishing my own studio in 1987, producing handmade paper for both corporate and artistic purposes. At that time I was aware of my artistic skills and my aim were to create a 2-string company presenting both my own art and in collaboration with other artist make a personal paper for their specific use – it be printing, painting or drawing. Already here the seeds were planted for my later focus on texture and how a material was given life in companionship with artificial light. Since 1998 development of lighting designs has had the highest priority and together with an sincere interest I all kinds of materials a sculptural expression was developed.
FS: What is "design" for you?
B: Design is never created solely out from aesthetic criteria but is an expression of the spirit of time and as such any designer and his products inscribe itself in a specific era, culture and language on straight line with fine art.
FS: What kinds of works do you like designing most?
B: My work always evolves by hands-on processes. It is an extremely strenuous and time-consuming process, but I love it. This is where anything can happen, from a sense of deep connectedness with the project to total rejection. I have the deepest respect for any designer who masters all kinds of software programs and advanced technology, but a real product should perhaps also during the design process exist as a tangible object that can be touched, be partly modified, evaluated in other colors and along with other objects / in space?
FS: What is your most favorite design, could you please tell more about it?
B: I tend never to be satisfied. Whenever a project is realized I want to do go further. In this respect I have to say that my favorite design is yet to come.
FS: What was the first thing you designed for a company?
B: In 2006 the Danish Architect SHL asked me to decorate the ceiling of the Regional Government Council. It was not the first project I made but the circular 400 m2 ceiling certainly was the most impressive and demanding task I had ever accomplished. Before that I had made my own design range consisting of several lighting designs to be produced and sold under my own brand.
FS: What is your favorite material / platform / technology?
B: I have a multitude of exciting materials and pick up new textures and qualities every day. Usually I have an inner picture / idea to a specific form and start looking for a suitable material. Since all of my designs are intended to be produced in low-tech processes without expensive molds, special conditions in the materials must be satisfied. It is important to me that a material radiates an inner soul that can be realized during processing.
FS: When do you feel the most creative?
B: Generally, my creativity is most active just before I actually fall asleep. It is experienced as a stream of images and ideas for projects, shapes and materials and at times it may be necessary to get out of my bed and review them in a more awake state of mind.
FS: Which aspects of a design do you focus more during designing?
B: My priority concern during designing may be reduced to the question: “Is this project possible”? A boring aspect is always the cost. Any design should be affordable to most people – even a costume made product shouldn’t claim to be worth a fortune. Another important thing is sustainability. As mentioned prior in this interview I grew up in the times before the awareness of the result of consumers society.
FS: What kind of emotions do you feel when you design?
B: A certain type of awareness, short glints and insights – one could call it sensitivity – tends to dominate my whole existence. I’m devoted and ideas tend to occupy my mind both day and night.
FS: What kind of emotions do you feel when your designs are realized?
B: ”Emty” would be the short description of my feelings. Most of my products are not in production so realizing a design most often ends by documentation. I have learned to accept this fact and to find the pleasure in my capability of creation.
FS: What makes a design successful?
B: Old stories never end - the market makes a design successful. Unfortunately this is the truth - This said, a more unconventional kind of understanding how a successful design is made is found in allowing the design the space for developing its own voice, undisturbed by style and spirit of the times.
FS: When judging a design as good or bad, which aspects do you consider first?
B: In any division of design category criteria is quite similar with the main factors being functionality and visual appeal. Before passing judgment a clear awareness of the intended usage is necessary. Some designs are merely aesthetic requiring no guidelines for functionality, while others are strictly utilitarian.
FS: From your point of view, what are the responsibilities of a designer for society and environment?
B: Does the World really need more stuff - beautiful, functional or not? What's really needed in a multicultural reality where a Facebook account is more important than a close relationship with loved ones? Groundbreaking designers are remembered for intelligent solutions to important economic and social problems. In this perspective, I look forward to greater focus on design and development of inexpensive, sustainable water treatment plants and irrigation systems for the poorest people on earth.
FS: How do you think the "design field" is evolving? What is the future of design?
B: Hopefully future designers will be more aware of the serious eco-social problems and meeting them before it is too late. One prominent new designer is the American designer Gabi Amit and his involvement in wearable technology - which both fascinates and frightens me. In the completely opposite direction lies the critical thoughts and ideas as another American designer Victor Papanek advocated in his book "Design for the Real World" published in 1972.
FS: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
B: Inspiration can come from anywhere but I tend to work myself into a material and a theme till the point where I really know what I deal with – in every aspect such as climate, durability, risk of damage etc. I mainly express myself through a head long use of materials, technical opportunities and surfaces where the didactic layers are supplanted by a seductive exterior aesthetics.
FS: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
B: My style has an organic expression, inviting the user to interact with the products. My approach to design is a continuous study of the relationship between the artistic contents, materials, techniques and the physical opportunities. Over the recent years my work has changed and is widely considered being installation art. In this connection the challenge is to ensure to the public that their intuitive wish to touch and play with the items is much appreciated. A quotation from Mr. Gadi Amit: “Good design is one which makes you smile”.
FS: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
B: I live in Denmark where design is a part of almost all modern people's daily lives. Today most young people can afford expensive design clothes and all kinds of famous brands is to find anywhere. It is a new trend emerged after the second World War when the ideology of free market forces has evolved to be the dominant worldview. Danish Design has developed into a world-renowned brand and many design icons from the 50s and 60s becomes re-launched, targeted to the global marketplace. This benefit obviously is a good thing by participation in an international fair with your own design. On the other hand, it seems to be difficult for young designers to find their shoes with such a glamorous history.
FS: Can you talk a little about your design process?
B: The products "live" with me. They live around me in my home and in my studio in various stages. Along the way I change, push and grab a little here and there, discuss with my network and observe changes in expression over the rhythm of the day, change the type of bulb etc. It is all in all a very stressful period with new ideas every minute day and night. The documentation phase is very frightening because of the fact that by taking images of the object I get a kind of objective understanding of the design as a product, there is no longer a part of myself.
FS: What are 5 of your favorite design items at home?
B: My bike that I use every day. My lighting designs placed anywhere in our apartment and my studio. Our bio-fireplace, recently made to replace the originally implemented fireplace. My recent knitted work of art: "Ask your Grandma", made from scrap metal.
FS: Can you describe a day in your life?
B: My day starts around 7 with breakfast with my husband. He makes it to us every single day. My workday starts always on the computer, checking my web shop for orders. If orders in my shop, I produce them, pack and run them to the post office on my bike. The content of a day varies depending on the current focus. I am the boss all the way through and in control of all activities, including the economy. During the day I have a break with yoga and power walk. My work continues until about 17 o'clock with a break at 19. Most often I will continue to about 23 o'clock.
FS: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
B: If you have a dream, then go for it! Trust your feelings and accept it if things don’t work out the way you or the bank expected.
FS: From your perspective, what would you say are some positives and negatives of being a designer?
B: Having a non-materialized vision and cause it to take physical form is a very satisfactory process. My "hands-on” process is tedious and frustrating but on the other hand the product occurs with convincing clarity.
FS: What is your "golden rule" in design?
B: Working with my heart and never to compromise.
FS: Designing can sometimes be a really time consuming task, how do you manage your time?
B: One must live with it. The same requirements are to your family. The idea of "time" is primarily defined by an idiosyncratic measurement of objectives and outputs.
FS: How long does it take to design an object from beginning to end?
B: Long enough to be satisfied with the result or see through that it from the beginning was an impossible project.
FS: What was your most important job experience?
B: My experience of working with Danish architect SHL in connection with the decoration of the ceiling of the new Region Council Hall. An artistic project where I proved my skills in the performance of a large project with a tight schedule, adhere to a budget and at the same time to be creative and productive.
FS: What are your future plans? What is next for you?
B: I will continue my work with both my artistic projects and my lighting designs - even if it sometimes seems to be processes ending right out in the blue nothing.
FS: Do you work as a team, or do you develop your designs yourself?
B: I work alone but also have an intense and very professional network. When designing for clients I listen, take notes, discuss if possible and sometimes a model is made to envision the project in some kind of reality. Again my camera is an important tool as well as the computer.
FS: Do you have any works-in-progress being designed that you would like to talk about?
B: "Ask your Grandmother" is an ongoing conceptual project that calls into question our understanding of common history and the role it plays in almost everything we do, think and develop today. Haven’t everything in its essence really been seen before? How would our ancestors act in similar situations when everything points towards a confrontation between radical groups and a western perception of democracy etc.? The objects are produced by various types of scrap and part of a new series of non-figurative, finger-knitted items intended for both wall and floor. The conceptual works have a strong textile resonance forming fragile - almost graphic three-dimensional objects where the shadow might play the main role in the works.
FS: How can people contact you?
B: By entering my website: www.birgit-oestergaard.com or using e-mail: design@birgitoestergaard.dk
FS: Any other things you would like to cover that have not been covered in these questions?
B: The conceptual work has increased my interest in man's historical, cultural and economic position in modern society, where issues such as violence, greed and lack of acceptance of other cultures and religions play a major role. The multicultural society is a fact, and the ability to integrate will play a crucial role in the development of future sustainable communities. My work evolves from an extensive knowledge of materials and long-standing fascination with their inherent beauty and individual opportunities - be it discarded objects, various industrially produced textiles or high-tech lighting equipment. Material and expression are processed by means of textile techniques in a creative, intuitive process leading to the final work.
FS: Thank you for providing us with this opportunity to interview you.
A’ Design Award and Competitions grants rights to press members and bloggers to use parts of this interview. This interview is provided as it is; DesignPRWire and A' Design Award and Competitions cannot be held responsible for the answers given by participating designers.
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