Nicolas Boon

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Nicolas Boon ("NB") 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?

NB : I did a bachelor's degree in Brussels at the graphic design school "le 75". I was then admitted to the ERG (School of Graphic Research) Saint Luc where I did a first Master 1 and a Master 2 specialised in visual and space art. I finished my Master 2 jury with the highest distinction. My professional experience started in Brussels and after one year continued in Luxembourg for 3 years. I founded the studio in 2014 at the age of 29. I met my wife and collaborator during our studies in Brussels. In the beginning the studio was specialised in communication, graphic design, typography, graphic identities, branding and webdesign. Over the years our expertise has grown, allowing us to combine disciplines and offer clients relevant and complete creative solutions. In 2020 we developed the product and interior design segment. That's why we are very happy today to have won an award in this discipline after only two years. For us it is like a new chapter in a book whose history is continuously being written. Today, the studio is truly multidisciplinary and responds to the most demanding requirements with a 360° vision for our clients.

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

NB : What motivates me to design is the emotion I feel when creating. It is a strong, exciting emotion. Creation is a free act without any constraints at the beginning. We go from an idea to something concrete, tangible, we materialise the immaterial. I like the relationship between the creative disciplines and having them coexist within a creation. It develops the coherence, the history and the materialist force of an object. I find it fascinating how an idea, a sketch, becomes more and more concrete and finally materializes in a creative process, a working methodology. I love the suggestive power of an object that succeeds in taking us on a journey, telling a story or awakening something intimate and subjective in us, through a multitude of indirect messages. This is why I became a designer.

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

NB : Even though the path was not easy, I chose to become a designer.

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

NB : I love lights, what I look for is first of all the beauty of the object and the play of shadows that the light produces, even when it is switched off. When lit, it unfolds all its magic. It has two personalities, one daytime and one nighttime.

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

NB : It is through perseverance that you achieve your dreams, which is why you should never stop dreaming or limit your ambitions, they are the driving force. In short, you must never give up.

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

NB : His design ;-)

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

NB : I think that all design must have a narrative value, a story to tell. I think that beyond the formal reinterpretation, we are looking for what touches the heart and sensitivity of the public. When an object touches the imagination it develops a relationship with each viewer or user. Its originality, relevance and overall coherence are very important. A great design takes me on a journey and gives me a glimpse of the world of tomorrow, it immerses me in the intrigue and suggestive magic of the object. When all these criteria are met I judge it to be really good.

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

NB : I don't want to presume to say that "you have to" invest in good design. If the design is sustainable and can be used for years or even generations then the return on investment will justify the investment.

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

NB : Our design work is not defined by a single project or style, it is the diversity of subjects that forges the studio's identity and allows us to provide unique and relevant solutions to each project. The intuitive relationship plays a fundamental role during the design process and will guide the project. Even if form and function are at the origin of the concept and define the object, I still believe that a non-functional, useless object that arouses pure emotions develops a certain form of useful uselessness in spite of itself. It is precisely at this point that design flirts with art because it develops emotional and intellectual narrative qualities. This poetic and narrative force of design gives it its soul. The keystone in my eyes remains this playful aspect, this game of the mind, a journey into a world where our perception is not that of the informed adult but that of an inexperienced child whose mind reveals the magic in everything.

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

NB : I like the work of Mathieu Lehanneur and Neri Oxman because the line between design and art is non-existent.

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

NB : For me the responsibility of a designer is to ensure a production chain and production techniques that respect the environment and the producers. In this way we help the environment, the producer and the consumer at the same time. A sustainable object is not necessarily an object that is biodegradable or recyclable, on the contrary. I think that many designers take an ecological, buy/discard/recycle approach that doesn't necessarily make sense. The longer an object lasts, the more it respects an ecological and sustainable idea. I like it when an object goes through time, is passed on from generation to generation, is altered and then once it has reached the end of its life can be recycled.

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

NB : I think I would have become a history teacher or an archaeologist.

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

NB : Design cannot be limited to one discipline, it is by definition the term that links all imaginable creative disciplines. That is why it is obvious that when we create something, it is a game, an interaction between disciplines that gives birth to a work with intrinsic functional and aesthetic qualities that responds to a precise demand and need. As I have already mentioned, however, I am of the opinion that a non-functional, useless object that arouses pure emotions develops a certain form of useful uselessness in spite of itself. It is precisely at this point that design flirts with art because it develops emotional and intellectual narrative qualities that touch the sensibility of the viewer.

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

NB : My wife and collaborator (Tatiana Garcia).

DL: What helped you to become a great designer?

NB : A flawless, almost blind ambition.

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

NB : The financial aspect was one of the biggest challenges. In Luxembourg design is not recognised as an innovative discipline, so you don't have any support to finance it. The only solution provided by the government is financing through banks.

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

NB : In the last two years we have worked on several ambitious projects. In the future we will present an armchair, a series of three rugs, a stool, a folding screen and a new light fixture.

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

NB : I think people expect the unexpected, the surprising, the dreamy.

DL: How does design help create a better society?

NB : By ensuring a production chain and production techniques that respect the environment and producers, design is already contributing to a better society. In this way we help the environment, the producer and the consumer at the same time. Good design has an ecological perspective, through its durability over time. The longer an object lasts, the more it respects an ecological and sustainable idea.

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

NB : We have several works in progress: carpet, armchair, stool, screen, lighting, bench and fonts.

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

NB : The projects that give me the most satisfaction will only appear in a few months.

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

NB : I believe that design is an interdisciplinary experimental laboratory that leads to innovation and improvement of our environment. I think that with space exploration intensifying in the next few years, our perception of the world will be deeply influenced and enriched. Biomimicry, which is already very present in design, will be revolutionised.

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

NB : It takes between 7 months and 2 years depending of course on the complexity of the project.

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

NB : We structure the design process chronologically and apply a precise methodology from start to finish. This design process depends of course on what is to be created. A typography will require a different methodology than the interior design of a space or the creation of an object. I think what is common to every discipline is intuition, reflection and research. It is the beginning of any creative act. If I am working for a client, the process will be more precise. 1. Discovering the client, who they are, what they do 2. What makes them unique, what are their qualities 3. The narrative aspect, the key words that characterise them and give value to their project 4. Conceptual research, drawing/sketching, exploring different conceptual avenues in search of relevant solutions in line with his vision and ours. 5. Realisation, materialisation of the concept. 6. Revision to adapt the elements that can be optimised. Throughout the project the client is involved in the creative process, the more involved he is, the better the final result of the project will be that meets his needs.

DL: What is your life motto as a designer?

NB : To take pleasure, as soon as the pleasure is no longer felt, it is necessary to take a step back.

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

NB : I think that design contributes greatly to the influence of trends, even if the opposite is also true, especially when it comes to specific colours, patterns or materials. I don't like to follow trends because they are too ephemeral, they set an object in time and take away its timelessness.

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

NB : Technology is a key factor that will determine the feasibility of a project. Design is entirely dependent on technology, it is ultimately the technology that determines the limits of a project, whether through technical limits or budgetary limits. Of course, if the budget is unlimited then one can afford to improve the technology to meet the production needs.

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

NB : The tool I use the most is a black uni-ball eye pen (Mitsubishi pencil) and paper, for writing and drawing. For the models I use all the material necessary for the elaboration of the model, the materials used can vary depending on the project. As for the software, it all depends on the work, we work with: Illustrator, Photoshop, Light Room, After Effects, In Design, Fontlab, Sketch-Up/Layout and Rhino 7. Often four to five programs are used for a single project.

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

NB : Colour can have different roles, it can be corporate in relation to a client's brand image, but it can also just be trendy. The colour of the object is secondary as long as it does not directly contribute to the coherence or concept. The materials are determined according to their relevance to the project. They allow me to sublimate the work or to respond to specific physical characteristics. The same goes for the technologies used. The atmosphere will establish and reinforce the context, here colour and light will play a crucial role, they will contribute to the highlighting of the object in the space.

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

NB : Where can I buy it ;-)

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

NB : Wow I love it... ;-)

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

NB : My ideal design partner is my wife and collaborator (Tatiana Garcia). Everything we do is co-designed. Everyone contributes and this enriches the design and its coherence.

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

NB : If I'm objective, the people who taught me the most were not the nicest, on the contrary, they were the ones who pushed me to the limit, got me out of my comfort zone and literally made my life miserable. In this kind of situation you either give up or you persevere and achieve your goals.

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

NB : I like reading a lot. The books I read are about history, philosophy and archaeology, I never read about design, I think it is important to take a step back from my work. Nevertheless I can't say that the books I read don't influence my design, on the contrary, they feed my imagination and create unexpected correlations.

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

NB : No, even though I loved everything related to the creative world, I always wanted to become a palaeontologist or an archaeologist. I always liked history and I still do. I think that the more you know where you come from, the more you know where you are going.

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

NB : At the risk of sounding defeatist, I have big doubts about the survival of man on earth until then.