Interview with Jan Goderis

Jan Goderis ("JG") interviewed on Saturday, 24 June.

Could you please tell us about your experience as a designer, artist, architect or creator?

JG : In the first period of my career, I mainly worked as an interior architect on architectural projects at the well-known architectural firm Driesen-Meersman-Thomaes from Antwerp (BE). These were mainly public buildings, restorations, and conversion of historic buildings. Including the restoration of the library of Renaat Braem, then the youngest protected monument in Flanders. Braem was the only Belgian architect who worked in Le Corbusier's office. Braem was a very important figure for modernist architecture in Flanders. An auditorium for the University of Antwerp. The offices of fashion designer Dries Van Noten in Antwerp…but also the scenography of international exhibitions at Bozar in Brussels. In these projects, the detailing of the architecture and furnishing was very important, so I designed both architectural and interior elements. That is why my designs have a strong architectural character. Through these projects, I have gained a broad experience in product design. Since the beginning of my career, I have always kept sketchbooks where I wrote down design ideas. So I have always been involved in design. In 2021 I officially started as a designer.

How did you become a designer?

JG : In architectural projects, a lot of time and energy went into things that have nothing to do with the design process. In the end, I decided to stop doing this and focus on design so I could do what I love to do and what I'm good at. It was a logical step. Since my student days, I have been taking part in design exhibitions and competitions. In that period of architectural projects, The design was somewhat pushed into the background. At that time I had little income and I had to take care of my family, which led me to the world of architecture. When designing, there is also the challenge of pushing new boundaries to the application of materials and production, whether or not combined with traditional and/or in combination modern production options. From the start of my artistic education, I felt a lot of satisfaction in designing. When designing goes smoothly, it's like I get an adrenaline rush. During my 8-year training as an Interior Architect, it quickly became clear that I had a lot of design talent, I say this in all modesty. Designing always came naturally and got high marks on my work. That's why I also became a professional designer. Designing gives me a good feeling that you can compare to a Runner's High.

What are your priorities, technique and style when designing?

JG : Aesthetics, ergonomics, and functionality are important elements but it is more extensive than this. Ecology, producibility, and sturdiness are linked to sustainability. During the design process, all these elements are tested simultaneously. They are inextricably linked during the design process. Remove 1 element and your design loses a piece of its design quality. During the design I first make a 2nd drawing, this is the most important phase. With this, I make a 3D simulation and 3D prints. When the design is ready, I made a High-End prototype to go to a manufacturer.

Which emotions do you feel when designing?

JG : If it's been a while since I designed, it feels a bit awkward and insecure to start with a new design, but I have no problem with a design 'Block'. For a design, I can always fall back on the ideas that I have noted down in my sketchbook over the past few years. But it is important to get in the mood while designing. I always listen to music while designing. It makes me feel good. The choice of music also determines how I feel. When there is a breakthrough in design I feel euphoric, it has a blissful feeling. And in that mood, new ideas spontaneously emerge.

What particular aspects of your background shaped you as a designer?

JG : For my training as an Interior Architect, I followed a technical course. Because of this, I have technical insight and I can easily put myself in this aspect of the design process. I can also easily imagine a design spatially. These aspects have become automatic. I have also always been sensitive to the use of colour. I have often done restorations of historic properties where implementing and matching colour was important when adding new elements in a historic environment. The application of colour and materials are very important when designing. A design can stand or fall with it.

What is your growth path? What are your future plans? What is your dream design project?

JG : At the age of 15, I started an 8-year artistic education. I came from a technical school and at the start of my artistic education, I came into contact with new music, art, architecture... I had a great interest and hunger for that. It has enriched me as a person and as a designer. It's a learning process that never stops. The 1st year of my education was still a search for myself, but in the 2nd year, I went full out with my creativity. Designing gave me great satisfaction. At the end of my education, I often participated in exhibitions and competitions. After my education, I ended up in the architecture world. I had a great interest in that because for me good architecture is determined by a good interior. The two are inextricably linked. With an interior assignment, you also have to take into account the orientation of living spaces, views, layout, materials… My design projects are strongly influenced by this. They have something architectural. Due to the variety of these architectural projects, I have gained broad experience in designing various things. That experience now comes in handy in my design projects.

What are your advices to designers who are at the beginning of their career?

JG : Try to be yourself. Look at what is happening around you but respect your own vision. But also question your work and reflect this to the outside world by asking for different opinions. And be patient, a start can be difficult. Believe in yourself.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

JG : Broaden your vision by opening up to different and new things. Look at architecture, art, but also everyday things… this can be very enriching. Keep learning. Go to lectures, follow courses, and info moments… so that you become more professional. Look up contacts and broaden your circle of acquaintances. Dare to ask for advice and help from others. But above all, stay true to yourself.

What is your day to day look like?

JG : A good breakfast with strong coffee is a solid start to the day for me. In the morning I mainly deal with practical and administrative matters. In the afternoon I start designing. Sometimes I go cycling in between to think and relax. I go visit a friend. Or I go to the library or art bookstore in town. This is very inspiring and energizing. I live in a city where everything is close by which is an unprecedented luxury. The best time for designing for me is in the late afternoon.

How do you keep up with latest design trends? To what extent do design trends matter?

JG : I follow trends from a distance. And let me subconsciously be inspired by it. When designing, I mainly follow my own vision. My designs are simple and sober, almost minimalistic but with substance and they cannot always be pigeonholed. As a result, I hope to be able to make sustainable and timeless designs. Trying to respond to trends is exhausting and oppressive to me. If I follow a trend, it is mainly using (new) material. My designs are simple and lend themselves to deriving other designs from them without copying myself. This way I can easily design family collections and my designs are commercially interesting.

How do you know if a product or project is well designed? How do you define good design?

JG : Good design is subjective and can depend on various factors such as the purpose of the design, However, some common characteristics of well-designed products or projects include functionality, usability, aesthetics, and innovation. A well-designed product or project should meet the needs of its users while also being visually appealing and easy to use. Additionally, good design should be innovative and offer a unique solution that sets it apart from similar products or projects.

How do you decide if your design is ready?

JG : For me, designing is a process of omitting things, designing to the essence. You instinctively feel that a design is ready. You subconsciously have criteria for yourself that a design must meet and you automatically work towards them. When all the puzzle pieces fall into place, the design is complete. Those puzzle pieces are ergonomics, aesthetics, proportions, and construction…all elements important for good design.

What is your biggest design work?

JG : The JAPAN collection is the most important design for me so far. It is a collection of seating furniture and tables. It started with the design of a lounge chair. When designing, the basic conditions of a chair were sought. This resulted in a simple seating construction. During the design, we sought to get to the essence and leave out superfluous things. Due to the basic design, the design of the lounge chair was also used to design a chair, stackable, with or without a backrest, a bar chair, a lounge chair with a backrest and a chaise longue and even a table. The construction is made of steel tubes and wooden legs and end pieces. The seat and back are made of saddle leather. Due to its simplicity, the design also lends itself to making plastic versions for industrial production. This makes it an important design. Subsequently, derivative chairs were also designed, including a wooden chair made from pleated wood and a chair made entirely of aluminium with a stretched leather seat and back. I am currently working on various designs, including an easily mountable and stable trestle system that provides legroom. Lighting designs, some chairs and I started with a modular seating system.

Who is your favourite designer?

JG : I have great admiration for 'Jasper Morrison' and the way in which he rethinks existing designs and thus creates a new evolution in design by applying new materials and production techniques. Charles and Ray Eames are historically the most important designers for me. Their designs still look very current after all this time. They are ingenious, simple, ergonomic and beautiful. I haven't thought about it until now, but I've already purchased some of their designs over time. The final design was the LCW plywood. It is very comfortable and behaves like a sculpture in space. Eames designed it in 1946 and it still doesn't look dated, which is the case with most l design classics without detracting from the design. If this were possible I would like to have a conversation with Le Corbusier about architecture. He is the most important architect of the 20th and even 21st century. As the most important designer of the 20th century, I would like to have a conversation with Charles Eames

Would you tell us a bit about your lifestyle and culture?

JG : Italy is for me the most inspiring country in terms of architecture and art. My favourite city is Venice. It is often said that it is an old museum, but I do not think so. It is a bustling and dynamic city where old and new trends enter into dialogue with each other. On every corner, there is something surprising to discover with beautiful buildings and squares or art. The colourful architecture reflected in the water is unusual and special. We try to avoid tourist places. But Venice has always been a magnet for tourism. Due to the high concentration of art and culture, the city feels like a cradle for our Western culture. I got the inspiration for my Mann table design in Venice. Music has always been very important while designing, I will never design without it. It helps me to get into the right state of mind that helps determine my choice of music. My music interests are very broad, ranging from Bach to Miles Davis and Nina Hagen. Like most people, my music was founded during my adolescence.

Would you tell us more about your work culture and business philosophy?

JG : The philosophy of the design agency is based on various values such as creativity, innovation, functionality, user-friendliness and circularity, which employees must also feel in touch with. While designing both existing techniques and digital tools are used. There is a vivid interest in researching new techniques, materials, ergonomics, ecology, and social and economic aspects in the designing process. The development process looks for the essence of a design, for form, material, production and user-friendliness in dialogue with the various parties. Currently, I work alone. I am currently negotiating with some companies to bring designs into production and I hope to be able to attract employees so that I can concentrate more on the creative process.

What are your philanthropic contributions to society as a designer, artist and architect?

JG : During the design process, consideration is given to how a design can be produced locally. This implies how we can combine new automated production techniques with local labour. Too often low-wage countries are still used where labour rights are not respected. By bringing this back to the regional level, less socially strong workers can also be attracted. In addition to eco-design, there are also initiatives that focus on this group of workers for production. I also had the chance to participate in that with a light design.

What positive experiences you had when you attend the A’ Design Award?

JG : My work does not always fit within the current fashion trends but is aimed at a sustainable and timeless design. Because of this, I was considered an outsider and received less attention. The awards I won gave people interest and respect for my work. As a result of which it was published more often and I was selected for various manifestations. The name recognition also made it easier to get in contact with design companies and gives better visibility in the design landscape.

Jan Goderis Profile