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Design is a consequence of the process, which in turn is a consequence of the material – An Interview with Max Lamb

An Interview with Max Lamb

By Le Vin Chin

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I had the good fortune to meet Max Lamb at Design Miami/Basel in June, where he was designated one of the event’s Designers of the Future. Amidst his Solids of Revolution installation, we arranged a subsequent interview. Here is the result …

Solids of Revolution at Design Miami Basel

How did you approach working with concrete and wool for Design Miami/Basel’s “Designers of the Future” project? What have you learned about these materials and was any of it a surprise?

I have explored both wool and concrete before but never successfully, and it was a long time ago, so for Design Miami Basel I started from scratch. The first month was spent researching, contacting building and construction companies, British suppliers and processors of wool, visiting builders’ merchants and cycling around photographing concrete architecture, construction sites and other structures. Parallel to this, I began sketching ideas and simple designs. Just quick, rough sketches that mean nothing to anyone but myself. After learning about the potential of the two materials and the various commercially available forms they exist in, I focused on two in particular – high density wool felt and low density Autoclaved Cellular Concrete. I purchased some samples and began to experiment with the materials in a physical way, seeing what the material could do and trying out different ways of manipulating and processing them. I was fascinated by how dense sheep’s wool, and how lightweight concrete can be. The two completely opposing materials became very similar in weight and property, a great surprise for me and a fantastic way of creating two different but related projects and a coherent exhibition.

From the videos I’ve seen of your work, I get the feeling that the production process you go through is as important as the final object. How does the process of making fit into your overall design philosophy?

Often the process or technique adopted to form, mold or manipulate the material directly informs the final design of the object itself. Sometimes the object is “made” rather than “designed”, meaning the design is a consequence of the process which in turn is a consequence of the material.

Casting a pewter stool © Max Lamb

What relevance do you lay on exploring handcraft and the other very basic, yet powerful, artisanal techniques (such as bronze and pewter casting and lathing) that you use?

I try to be true to a material, generally using the material alone and in its elemental form. I want to celebrate and exploit each material for its inherent visual and functional characteristics, properties and qualities. Using a material alone helps to show it for what it is. I consider my approach to be logical and considered. I never try to force a material, but rather steer it into a form that is functional yet appears to have happened spontaneously, as if by nature.

Where does the design inspiration for your projects come from?

From materials and processes, and experimentation, exploration and engagement with both. From industry, manufacturers, material producers and relationships/collaborations with the companies involved. And from the environment and how geography, the physical landscape and geology can be interacted with and celebrated.

Visually, your pieces almost seem non-designed – they just “are”. What’s your design aesthetic?

Aesthetic is a consequence of the material and process I adopt. I’d say I make an aesthetic rather than design one. I don’t really like to fake things. If I use a material I want to be able to see and recognize that material. Every material has a unique identity – for me, that is decoration enough.

Ladycross Sandstone Chair and Starch Chair © Max Lamb

You use raw stone, polystyrene, bronze, pewter, sheet metal, starch … Does the project choose the material, or is the medium / material the starting point?

The material is always the starting point. I don’t have a catalogue of designs in my head waiting for an appropriate material to come along. When I begin working with a new material I don’t have a preconceived idea of what I am going to make. Usually, I decide upon a function first, but the visual and aesthetic aspect comes later – well, it just happens. Concise knowledge of materials as well as processes is so important in order to design clever, logical and appropriate objects. Without this knowledge, designers are just stylists, applying their personal aesthetic to a functional object. This isn’t the way to solve problems and produce exciting, unique products. That is my theory anyway.

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