Design by Reduction Sculpture - 21/04/2026

As a designer of furniture and lighting, part of me has always sought to reduce an idea to its essence. The reasons for this are that each piece carries a strong narrative, the design is in harmony with its material and function, reflects a responsibility in the use of resources, and is often more pleasing to the potential buyer. However, with so much exposure to different designs, these sentiments can easily become lost, and the boundaries between the essence of a design idea, the imprint of a sculpture, and marketing begin to blur.

In the world of industrial design, many objects exist because new technologies give us the ability to manipulate materials in ways that were previously impossible. This, in turn, provides companies with a compelling marketing narrative and the potential grail of being the first to manufacture something in a particular way. I recently saw a plywood chair that initially struck me as a well-resolved piece of design. It felt close to an essence: in harmony with its materials and method of production, and seemingly comfortable. However, the more I saw it, reflected on it, and observed others’ responses, the more it began to feel uneventful. It reminded me of moments in design history where object and environment have been disjointed, for example the invention and widespread use of plastic in furniture. It’s essence was effectively, marketing.