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Interview with João Faria |
Home > Designer Interviews > João Faria |
Editor Frank Scott (FS) from DesignPRWire has interviewed designer João Faria (JOF) for A’ Design Award and Competition. You can access the full profile of João Faria by clicking here.
FS: Could you please tell us about your experience as a designer, artist, architect or creator?
JOF: I am an architect by training. My projects always had some details, and people loved that kind of attention. In architecture, there are several protagonists. The project has many interventions and deciders, so I have moved from that art to the design. Now I can decide for myself and develop my ideas without any outside interference. But let’s be clear, I am not a designer; I am not concerned about resolving situations or problems through design. In my work, I try to explore a concept or idea and take it to its limits whenever possible.
FS: How did you become a designer?
JOF: Out of necessity. The objects I wanted for myself did not exist, so I had to make them. Some friends liked what I did and started asking me for more.
FS: What are your priorities, technique and style when designing?
JOF: The core idea behind all of my objects is the initial concept. Let me give you an example: Emotional Object #028: Mikado. I was in the subway in Paris discussing with my team, just silly conversation, remembering our youth games, and Mikado came to my mind. Using the sticks of Mikado to support furniture was the "moto," and everything flowed from that. Was it possible to make a table? How about a bed? A display case? What would it look like? Was it possible? All the objects you see in this line came from that first idea. The theme defines aesthetics. The intellectual challenge is everything. Drawings or digital models are only helpful for visualizing and solving some of the problems from this line of thought. Rendering is beneficial to communicate the idea for others, but there is no substitute to do a prototype by hand; only then can you value the artisans' work and difficulties that later will make your vision a reality. Virtual has its place, but nothing comes close to putting your hands on it.
FS: Which emotions do you feel when designing?
JOF: The first concept is a rush. But everything is enjoyable, solving issues, making the first piece by myself, watching artisans make the final object, appreciating the quality of their work, seeing the clients' reactions, and explaining how it was born.
FS: What particular aspects of your background shaped you as a designer?
JOF: Countless hours were spent around my grandfather, watching his movements and approach to problem-solving. Also, spending time in DIY stores watching all of those components and imagining what we could do with them. It has been a good journey, having fun designing stuff that we care about and like.
FS: What is your growth path? What are your future plans? What is your dream design project?
JOF: Make people happy. Put something in their life that makes them smile. That is it.
FS: What are your advices to designers who are at the beginning of their career?
JOF: Be humble. Don’t be sold out. Make stuff, don’t talk about it or theorize about it. Make it with your hands. Respect the humble worker that makes your objects. Be human. Be foolish.
FS: You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?
JOF: I am not successful. My peers and my clients will evaluate my work, but only time will tell if those objects can stand the test of time and trends.
FS: What is your day to day look like?
JOF: Very normal. My life isn’t glamorous as you might think. I have a schedule, and I work from 8:30 to 22:00. My work never leaves me; I have many insomnias and spend many hours in front of a blank piece of paper or a screen. Sometimes I discover myself laughing alone about some crazy idea that comes to mind.
FS: How do you keep up with latest design trends? To what extent do design trends matter?
JOF: Sorry. I don’t care about trends. It is very easy to succeed playing with the latest trend and following the herd. Although I am humble about my work, I believe that it will make its way to history as a classic of design from a fool who thought it could make things differently.
FS: How do you know if a product or project is well designed? How do you define good design?
JOF: A good design is something that I look at it and think, “I wished I had had that idea”. But most good designs are very simple and transparent, almost unnoticeable.
FS: How do you decide if your design is ready?
JOF: Never. There is always something to experiment with: a new material, technique, finishing, function, etc. The shape can be finished, and you have to be careful about that moment, but there are always options that you can consider. A client once told me that “when we choose to marry someone, we are giving up all the others”. When we choose a path in our design process, we leave a world of possibilities behind. Those choices can continuously be revised later, though.
FS: What is your biggest design work?
JOF: Emotional Object #014: “Iris” butter dish. It is a simple object that took me four years to make perfect. The reason that forced me to go forward with this brand, too. There was a restaurant with this name, and it closed. I contacted the owners about the butter dishes they had in the restaurant; they were simple cylinders with tiny holes on top, in which the butter would squeeze and pass through. Nobody knew where they were. So, I had to design my own. The first prototype was made in silver by a friend, but it wasn’t what I wanted. So, it went to a drawer for four years. Time is essential in the design process. After participating in a design contest for the first time and being selected for the final, I was encouraged to make a new attempt for the following year. “Iris” got out of the drawer and got re-designed and became the object that everybody knows. Now, the difficulty is to design the things that go with it. A line of table accessories is being studied, but that second album… the second album is complicated…
FS: Who is your favourite designer?
JOF: So many architects and designers. I think that all designers today have had their influences. Architects: Ludwig Mies van der Rohe and Alvar Aalto, for sure; Zaha Hadid and Tadao Ando are both greater than life. Even today, their designs are perfect. Designers: Dieter Rams or Philippe Starck are the first that come to my mind. But we have to be careful not to copy those designs, which unfortunately happens too often nowadays.
FS: Would you tell us a bit about your lifestyle and culture?
JOF: Music is a fundamental part not only in my creative process but in my life (as I write these words, for instance, I am listening to Roxanne, by Sting, a live version of "The Secret Policeman's Other Ball 1981"). This love is so true that the first object I have designed is Emotional Object #001: "We Love our Music", a Bluetooth speaker that I made because what existed in the market was poor. I listen from classical music to Punk, from my rebellious phase (Nina Hagen comes to mind). My family gave me an education in music; some are composers, others maestros, etc. It is curious that for every project, there is a particular song. I am blessed to work within walking distance from my house in the center of a city near Porto, a fabulous town in Portugal. My inspiration comes from my life and everything that I see anywhere, anytime, so, although I think that my culture is essential for my work, I don't limit myself to that theme.
FS: Would you tell us more about your work culture and business philosophy?
JOF: Let me talk about our business culture, a theme that is very important for me. First, we work with persons and for persons. We have a close relationship with everyone that works for us, and we follow their successes and failures, their problems and happiness. We need to know that everyone is comfortable working for us and they are part of our project and our success. There are no numbers that can pervert that principle. Second, we like to make stuff. There is no substitute for an object, software, or “next big idea” that will make us rich. Nobody will be rich from our work. We work because we like it; money is a means, not a goal. Third, we are stubborn. Our style is not hip, not in fashion, but it is unique and defines us by who we are. Many times, I say to our collaborators that we have a path, and we will go full steam ahead in that path; if a wall comes in our way, we will go on convinced against that wall. If we splatter against that wall, we will do so with the biggest bang. No compromises. Our business model has many other principles, but those three are the most important. Of course that those principles have consequences for our business. Our objects cost more money than our competitions’. People are getting used to having stuff without paying the real value for it, but that culture is a culture of misery; it perpetuates poor in other countries and puts pressure on our workers and governments. We think that there is another way. I know we are going against the tide on this, but that is our path like I’ve just said. We welcome the wall; let’s see if we fail, or the wall is overthrown.
FS: What are your philanthropic contributions to society as a designer, artist and architect?
JOF: First and foremost, instead of making outstanding contributions to society, joining groups of well-intended people, look around you. All of my pieces give jobs to people I know; I am involved in their lives, care about their health, convince them to wear protective gear, pay for their work correctly and in time. None of my pieces is made in third world countries, with people working in bad conditions, underpaid and anonymous. We don’t make charity. We give jobs and pay accordingly. If necessary, teach them new skills nurture them. Most of the time, all people want is an opportunity. And if you do some humanitarian projects, don’t make it a marketing tool of it.
FS: What positive experiences you had when you attend the A’ Design Award?
JOF: Competitions like the A’ Design Award are the way to get your work recognized. The A’ Design Award is very transparent and gives excellent feedback to the contestant, so I trust the judges and the process. The benefits (if you get some prize) are more than obvious; publicity around the world, validating your design, and using it as a tool for your clients are significant. For me is the fuel that makes me believe in my work and my choices as a creator. Having someone so distant from me evaluating my work and recognizing that something is interesting in my designs is what keeps me going. Being designer of the day is a humbling experience. Believe it or not, I am a straightforward and accessible person. I’m not particularly eager to stand up, but I’ve come to understand that this is part of the process of showing my work. Designing is a beautiful experience, and people that work in this area are ordinary people. I don’t think we are unique.
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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