Jan Goderis

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Jan Goderis ("JG") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

JG : At the age of 15, I started the artistic training 'Interior Art' at the Sint-Lucas art institute in Ghent, Belgium. So I started designing very early. Afterwards, I followed the master course in 'Interior Architecture' at the LUCA School for Architecture in Ghent. Immediately I had a broad interest in art, architecture, literature and music to use and implement in my school projects. I have always had a great appetite to discover new things. This made the courses very interesting for me to discover myself and my talents. The creative process gave me a lot of satisfaction and felt like something natural. It was like learning to discover a language.

DL: What motivates you to design in general, why did you become a designer?

JG : For me, designing is looking for a solution to a problem. How can I convert an idea into a functional, aesthetic object. It may sound crazy, but as a child, I mainly played with LEGO. I only had a limited number of LEGO pieces but tried to make all kinds of constructions with them. For me, designing is a further natural evolution of that. Designing is a spontaneous process, often the design is based on something I saw. That can be art, an object found during a walk in the woods or by the sea, architecture.... And when you see it, a design process starts that evolves further and usually deviates from the starting point in order to arrive at a new given. Often it is also an image that appears in my mind. I always and everywhere have a sketchbook with me where I sketch these ideas. These are rough basic designs. Hence research into how I can further design it according to an original idea, which is aesthetic, ergonomic, and sustainable. In this process, I immediately think about how it is constructed constructively and whether or not it is producible, whether or not it is geared to the production possibilities of the customer. 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 is why I also became a professional designer

DL: Did you choose to become a designer, or you were forced to become one?

JG : I ended up in an artistic education by accident. First I had technical training. My father saw that I could handle more challenges and enrolled me in art school. In retrospect, this turned out to be a good decision. The fact that I did technical training beforehand has always played to my advantage. When I design, I immediately think about how something is put together and how it can be produced. Which also ensures that I can easily imagine something spatial (3D). It was under gentle duress that I became a designer.

DL: What do you design, what type of designs do you wish to design more of?

JG : My design interest is very broad. It started with furniture, later lighting and utensils, glass and ceramics... But if the opportunity arises I would like to design bicycles, cars, clocks and even fashion etc…. I have never felt confined to a particular theme. Perhaps this is also due to my hunger to discover new things. In the meantime, I already have a broad design portfolio that is very diverse in terms of content. I would like to design more lighting. The combination of light and a shape containing the light source creates a special interaction.

DL: What should young designers do to become a design legend like you?

JG : I don't consider myself a design legend because designing comes naturally to me. I think it's especially important to follow your own path. Being open to discovering things, and that doesn't always have to be new things. Don't be afraid to come out with your work. Try to show your work through as many channels as possible. And be patient. If you know you are good, persevere and believe in the future, chances are you will be discovered.

DL: What distinguishes between a good designer and a great designer?

JG : A great designer always goes a step further than expected, he explores new boundaries and knows how to surprise people with fresh ideas. And therefore they don't have to be spectacular designs.

DL: What makes a good design a really good design, how do you evaluate good design?

JG : When a design triggers something emotional in the viewer and/or user. Arousing amazement. And again that doesn't have to be spectacular or complex. That wonder can be diverse such as; the proportions, the tactile, user comfort, shape, and material combination….

DL: What is the value of good design? Why should everyone invest in good design?

JG : Good design can be enriching for users. It can improve the quality of life and not always in a material way but also mentally. It can subconsciously give you a sense of well-being. Good design is also sustainable. Due to its qualities, it enters into a relationship with its user and the design can be passed on to the next generation. That is why 'Vintage design' is so popular. The combination of good design creates a bond and the design has a soul through use over time.

DL: What would you design and who would you design for if you had the time?

JG : I would like to design a super piece of furniture for myself to live in. A simple and functional sculpture to live in where everything has a meaning in terms of aesthetics and use.

DL: What is the dream project you haven’t yet had time to realize?

JG : Designing the ultimate chair. After the tables, the chair is the most important piece of furniture in a home. It must meet various requirements, aesthetic, ergonomic, sturdy, comfortable… Often so-called trendy design does not meet these requirements.

DL: What is your secret recipe of success in design, what is your secret ingredient?

JG : Unfortunately, I don't know this. Perseverance and self-belief are important elements. But even so, you should always “question” your work to yourself. This ensures an evolution in your work and you transcend new boundaries, which will make you unique as a designer

DL: Who are some other design masters and legends you get inspired from?

JG : Pierre Chareau, and in particular his 'Glass house' in Paris has been very important to me. The house and the furniture he designed for it together form a living machine, but not in the narrow sense of the word. In addition, 'Le Corbusier' and Soviet architects such as 'Konstatin Melnikov' 'Charles and Ray Eames' have been very innovative in technique, production and design and their designs are still current. I find contemporary architecture very inspiring. Architecture largely determines the evolution of design. I have great admiration for 'Jasper Morrison' and the way in which he rethinks existing designs and thus creates a new evolution in design.

DL: What are your favorite designs by other designers, why do you like them?

JG : My most favourite designs are P81 relax chair designed by 'Borsani' and the LCW plywood by Eames. The P81 is an almost unlimited adjustable seating and reclining furniture, the system is ingenious in its simplicity. I am the proud owner of a P81 sofa from the 1st production period that I found in a dump and completely restored it myself. It was a grateful tool for me when designing chaise longue and lounge chairs. The Eames LCW plywood is very comfortable and behaves like a sculpture in a room. 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.

DL: What is your greatest design, which aspects of that design makes you think it is great?

JG : The JAPAN chair, and by extension the entire JAPAN collection. The design is very simple and reduced to the essentials for its form and function. The omission of parts was an important process that led to the final design. Because it has been reduced to the essence, a complete family of chairs could be designed, with a backrest, a stackable, lounge chair with and without a backrest, a chaise longue, a bar stool and a table. Steel, wood and saddle leather have been used for the chair. Versions in plastic are also possible from the JAPAN designs. And so a foundation has been laid for a new chair design made of folded wood and a version completely made of aluminium so that it can also be used outdoors.

DL: How could people improve themselves to be better designers, what did you do?

JG : When designing, I always question the design. Being critical also teaches you to see a design from a bottom point of view. This way you discover new possibilities that you didn't think of before. Sometimes it is important to let a design rest for a while, this can be an hour, days, weeks, months. Unconsciously you keep working on the design and this can lead to solutions. Ask family and friends what they think of the design and test their experiences and your opinion or vision.

DL: If you hadn’t become a designer, what would you have done?

JG : Musician or fashion designer. Music is very important for me when a design. It cares for and supports your state of mind when designing and stimulates the creative process. Although I would have loved to do fashion, I find it a volatile medium with a hellish workload where one has to design a new collection for every season. But in the meantime, many designers are abandoning this and limiting themselves to a few collections per year. The consumption of clothing as a result of this is also no longer justifiable.

DL: How do you define design, what is design for you?

JG : For me, this is designing an aesthetic and functional utensil in the broadest sense. Currently, there is a (fashion) evolution to design objects that are not functional. They are more decorative objects that have a short lifespan due to their lack of functionality. These are designs that are often aimed at a middle-class audience. I think it's important that design is accessible to everyone. Many classics are priceless for the average man.

DL: Who helped you to reach these heights, who was your biggest supporter?

JG : My wife's support is very important. I often ask her opinion during the design process. She has an architecture and photography background that is valuable. My teachers were also important, apparently they quickly recognized my talent as a designer. But friends who are in the same industry or in the art world and are critical also help to discover new possibilities.

DL: What helped you to become a great designer?

JG : Everyone designs from their own and determines perspective. And this is good in itself. Every designer is different, which creates room for different visions. I approach design very pragmatically and this is reflected in the design. For myself, I am very strict before I am satisfied with a result. During the design process, I like to approach the object from different points of view. This provides new insights. It is important to question and test your design every time. The perseverance to extend boundaries ensures positive evolution in design I also see that passion in artists who keep reinventing themselves and thus push boundaries in the creative process like 'Prince', 'Bowie', 'And Miles Davis' are inspiring and an incentive to go further and push boundaries.

DL: What were the obstacles you faced before becoming a design master?

JG : Breaking free to meet certain expectations in the hope of finding producers for my designs more easily. This felt more like an imposed design assignment that I didn't feel comfortable with. During that period I often asked friends for their opinion on those designs. Everyone gave valuable but different advice which complicated the design process. Then I resolutely chose to go my own way. I still ask for the opinion of friends but don't let me be influenced in a coercive way. By letting go of this more, the design process runs much more smoothly and I have a lot of satisfaction. This does not mean that I do not want or cannot design within a defined assignment. In itself, I find this a challenge to make a design in my own way and vision for a customer focused on its production possibilities. The fact that I do this in my own way and with my own design language is also appreciated. As a result, I also arrive at a good result that meets the expectations of all parties in this process.

DL: How do you think designers should present their work?

JG : If possible, it is important to make a prototype(s) of your design, whether or not in full-size model form. This way you can test it against reality. It also allows you to use your work for exhibitions, competitions and shows to producers. As a designer, you sometimes encounter financial problems or implementation limitations because your design can only be made with special techniques. Fortunately, there are now also very solid ways to realistically draw your design in 3D or you can 3D print your design. Interesting tools to evaluate your work.

DL: What’s your next design project, what should we expect from you in future?

JG : Many designs are in the pipeline. I am very productive as a designer. Almost every day I make a sketchy start to a design based on new inspiration. Actually, I need an assistant who could elaborate on this. Often I leave designs for a while and over time I can get to a more satisfying design faster so that I can take some distance from it. Among other things, I'm working on an easily mountable trestle frame for a table, a continuously adjustable floor lamp, and another 10 lighting designs. Chairs, a modular seating system. Too many to mention.

DL: What’s your ultimate goal as a designer?

JG : That I no longer have to look for manufacturers, but I am contacted by them to make a design. It takes a lot of time and energy to find the right producer. The time that I can better invest in designing.

DL: What people expect from an esteemed designer such as yourself?

JG : Especially since I translate my vision into my designs without letting my creativity be curbed. The simplicity and the architecture is recognizable in my work. This recognisability illustrates my design language. This has become an unconscious process. I am a very prolific designer so I evolve quickly in my design language but when I step back I see a connection between the designs. There is a clear evolution. I also have a great hunger to discover new things which is reflected in the evolution of my design language.

DL: How does design help create a better society?

JG : We are currently at an important historical pivot point globally. Globalization, migration, Covid, the war in Ukraine, the great tensions between different world powers, global warming, the AI evolution... This means that we have to review our current policy for the use of materials and production. We have become too dependent. It is ecologically and socially important to be able to produce regionally. We need to be more careful with raw materials. We have the technological know-how to be able to produce ourselves. And workers can be implemented with respect to the production process. It is good that the design world is fully reoriented towards this.

DL: What are you currently working on that you are especially excited about?

JG : I am currently working on a new chair design that uses pleated solid wood. The use of folded wood creates a light and rigid construction. It is a quest to realize an ergonomic and sturdy chair with limited materials and simple construction.

DL: Which design projects gave you the most satisfaction, why?

JG : Last year I just designed door and window hardware. The design went very smoothly and gave me a lot of fun. For me, it was like sculpting. Some producers were immediately interested, which was confirmation that I was doing a good job.

DL: What would you like to see changed in design industry in the coming years?

JG : The design industry is constantly evolving and adapting to new technologies and trends. Some changes we might see in the coming years could include a greater focus on sustainability and eco-friendliness, increased use of virtual and augmented reality in design processes, and a greater emphasis on inclusivity and accessibility in design.

DL: Where do you think the design field is headed next?

JG : The emphasis of the current generation of designers is strongly on 'Collectable design', which is intertwined with ecological research. A cautious change is visible towards designs that are more focused on user-friendliness, and environmentally friendly production with eco-friendly materials. This imposes more preconditions for design, construction and manufacturability. This represents new challenges in the design world and a more pragmatic approach to the design and production process.

DL: How long does it take you to finalize a design project?

JG : This can vary from a few hours to exceptionally several years. Sometimes it is good to let a design rest for a while. This way you can take some distance and this provides new insights that benefit the design. But usually, the design process goes smoothly because you get into a drive at a certain point.

DL: When you have a new design project, where do you start?

JG : A design always starts from a sketch idea. I have several sketch journals in which I draw my ideas very rudimentarily with a few lines as a reminder. I always have it with me, I even have one on my bedside table. From those sketches, I draw the design in 2D and then translate it into 3D. I also have a 3D printer which is very useful for physically evaluating a design in terms of design, aesthetics, proportions and construction.

DL: What is your life motto as a designer?

JG : Try to push your limits. This ensures satisfaction and interesting designs. You can compare it to an athlete who pushes his limits and takes his performance to a higher level. "Design is an art"

DL: Do you think design sets the trends or trends set the designs?

JG : I think; trends determine the design. It is more than about trends but about new materials, production possibilities, and technologies. In my opinion, architecture is an important trendsetter for design because it evolves strongly on the basis of new visions and technological innovations.

DL: What is the role of technology when you design?

JG : As I referred to in the previous question, the role of new technologies is very important. There is always an interest in working with new materials and production techniques. The ecological aspect plays an important role in this. There has been a strong evolution there in recent years. Also with new production technologies. This is also clearly visible in the design language of the designs.

DL: What kind of design software and equipment do you use in your work?

JG : At the start of my career, everything was still drawn on chalk, a very cumbersome and labour-intensive process. It was then a lot of work to correct an error. Now I use 2D and 3D drawing programs that provide a lot of ease of use during design. You can easily make copies of your design drawing and explore other possibilities. 3D drawings are an intermediate step between 2D and a prototype or 3D print.

DL: What is the role of the color, materials and ambient in design?

JG : These are very important elements that can strengthen or weaken your design. They are personal elements that the user can choose according to his taste and interior. It gives the user the opportunity to personalize his living space. The choice of colour and materials can support your design formally. Colours and materials also illustrate the style of the design and often the time period in which it was designed.

DL: What do you wish people to ask about your design?

JG : People only see the end result of a design, but behind every design (process) there is a long story. What was the inspiration, what problems came up during the design, why these materials.... If you can tell this story to the user, the object gets more content.

DL: When you see a new great design or product what comes into your mind?

JG : Admiration, I'm going to investigate the design, especially the technical side. I wonder how I would approach such a design issue. Sometimes seeing a new design is an impetus to design something around the same theme. It can be inspiring. And perhaps this new design also originated from an inspiring example.

DL: Who is your ideal design partner? Do you believe in co-design?

JG : A design partner must be complementary. Being able to enter into a dialogue immediately during the design process makes it go more smoothly and faster. You can quickly test other routes and it is enriching. And a healthy form of competition has a stimulating effect. But it has to click. My wife has an architecture and photography background. I often ask her opinion when I'm stuck designing. This is more of a remote co-design collaboration that provides more freedom of movement during design.

DL: Which people you interacted had the most influence on your design?

JG : When I studied interior architecture I was very influenced by architect Christian Kieckens + 2020. He taught furniture design and architecture. For him, questioning 'the design process' was important in order to grasp the essence of a design. He has also done a lot of research into ratio systems in architecture, including work by the Swiss/Italian Baroque architect Francesco Borromini. I used to like to use ratio systems to test a design, but now I don't feel the need anymore. Kieckens in turn was inspired by his mentor and interior architect Pieter De Bruyne. Experiences that are passed on from generation to generation.

DL: Which books you read had the most effect on your design?

JG : ‘A Book of Things’ by Jasper Morrison. It has given me the insight that inspiration is a natural element in the design process. I used to think that I had to 'reinvent the hot water' with every new design, this had an oppressive effect when designing. Morrison shows with his work that strength lies in simplicity and that you should not look too far for inspiration.

DL: How did you develop your skills as a master designer?

JG : I consider myself a self-taught artist. Designing is a natural thing for me. A language I speak. You grow into it with practice. It's like cycling, after a certain time it becomes automatic. You learn to look at and discover things in a certain way, and to convert this into designs.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

JG : Le Corbusier without a doubt. The most important architect of the 20th and perhaps also the 21st century in my opinion.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

JG : It doesn't feel like being famous, more like recognition. Winning awards is very pleasant. It is a confirmation and encouragement that I am doing the right thing. It's the icing on the cake. People who first had doubts about my work must now conclude that my work is internationally appreciated. My name recognition has grown enormously because of it. This makes it easier to establish contacts with the press, companies and the public. In the past 2.5 years, I have won about 22 awards and nominations. I am very proud of that.

DL: What is your favorite color, place, food, season, thing and brand?

JG : My favourite colours are orange and blue. Orange is an expressive warm colour, blue subdued, a calmer. My favourite place is Venice. For me it is a vibrant young, remarkable city, there is so much to discover in terms of architecture and art. It doesn't feel like a museum as some say. I like to explore outside the tourist places. The combination of the materials and colours of the buildings with the water is very special. I am Belgian, I prefer to eat 'mussels and chips'. Autumn, winter and spring appeal to me the most. I don't like the heat that much. That's a problem for an Italy lover. The colours of nature in autumn are very beautiful. Often there is also fog that puts a veil over everything and acts as a kind of filter that covers the ugly things. I love the snow very much, also for the same reason as the fog, the snow puts a blanket over everything and makes the environment calm. Smells are also different, I link it to a holiday in the mountains. Spring with budding plants that provides a feast of fresh colours. My favourite thing was my bright red Volvo V50, a functional, simply designed car that aligns with my design vision. For me, a car must be functional and practical and beautiful in its simplicity. Unfortunately, I had to get rid of it because it was a diesel that was no longer allowed in certain cities. As a sports car I choose a Porsche 911, but I have no desire to own it :).

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

JG : We had recently been to the Milan furniture fair to establish contacts with manufacturers. We met many people. On our return journey to Milan's Linate Airport, there was a strike. It was a chaotic situation to board. A woman approached us while we were waiting to ask what we had done in Milan. It turned out that the woman was a partner of a large Belgian furniture company that was looking for designers. In about 4 minutes a contact has been made for a collaboration. Talk about coincidence.

DL: What makes your day great as a designer, how do you motivate yourself?

JG : With a good design. Then I literally feel the endorphins that give me a blissful feeling. Actually, I don't need much motivation. Unfortunately, I get too distracted with administrative matters that have nothing to do with design. And then it is difficult to get into design mode.

DL: When you were a little child, was it obvious that you would become a great designer?

JG : No, but when I was little I often went to visit an aunt and when she saw me playing with Lego she said that I was going to be an 'architect' when I grew up. She wasn't far off.

DL: What do you think about future; what do you see will happen in thousand years from now?

JG : Looking 1000 years into the future is difficult, let's stick to 100 years. Judging by technological evolution, AI will strongly determine our future. AI will ensure faster evolution in all areas, technological, scientific, AI, medicine, renewable energy, and transport…, than before. I wonder if IA will replace designers in the future. It doesn't seem inconceivable to me. When a person designs, various parameters are involved that may or may not be fillable by IA. Important decisions must now be taken to ensure the future viability of the earth. Designers and producers also have their responsibility in this.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

JG : Designing is a passion for me. It provides energy in my existence, you can compare it to the satisfaction an artist gets from creating his work of art. It is a language that I speak fluently and enjoy. Since I started with design I have met many interesting people, which is an enrichment. In the future, I hope that there will be a lot of interest from the design industry in my design talents and that I can make people happy by creating beautiful and interesting objects.