Digital technology, high-tech craftsmanship and sustainability meld into cutting-edge design
Award-winning London-based architect and designer, Timothy Schreiber, trained under the Bauhaus school of design in Germany and also in London and describes his style as “pop modernism”. Working and living abroad in Sydney, China and Japan, he was affected by a collection of influences you can see reflected in his style. Originally focusing on architecture, his time in Sydney triggered his movement into furniture design, inspired by Sydney’s embrace of modernist design.
He developed a contemporary style mixed with old-school inspiration, influenced by the likes of architect Harry Seidler and using new technologies and digital software. This allowed him to create pieces that expressed his own take on the modernist design philosophy. I caught up with Tim in London before he left for the Stockholm Fair to talk about his work and vision for the future of furniture design.
He developed a contemporary style mixed with old-school inspiration, influenced by the likes of architect Harry Seidler and using new technologies and digital software. This allowed him to create pieces that expressed his own take on the modernist design philosophy. I caught up with Tim in London before he left for the Stockholm Fair to talk about his work and vision for the future of furniture design.
“Pop modernism is all about pushing the envelope, using cutting-edge techniques from concept to finished product; pushing the boundaries between architectural and digital designs, while at the same time urging the mainstream market to embrace designer furniture,” he said.
Using the latest in digital design and construction methods, he creates a workflow from designer to manufacturer that decreases manufacturing time and costs but maintains the standards expected from “designer furniture”.
“The use of digital programs allows me to be a one-man show, from concept to finished product; the nature of digital design allows for modular construction, meaning each piece can be customised without starting from scratch and inducing extra costs. This method of design allows for customised designer pieces to be available to the average person. This helps bridge the gap between custom one-off pieces and those that are mass-produced.”
When asked about the expected life cycle of materials used to create his designs, he said, “I believe in the minimalist approach — single pieces used to accentuate the space you’re in. My pieces are designed with longevity in mind, in terms of appeal and construction. Investing in sustainable design includes using long-lasting materials such as steel, glass and durable plastics. However, good design is the best way to make products last.”
Examples of these combined elements can be seen in all of his work, such as the E-volve Table, Pan 07 Chair and Morphogenesis Chaise.
A brief stay in Japan inspired Timothy to re-assess the use of natural materials. The Japanese minimalistic heritage, traditional timber craftsmanship and his experience in making timber furniture as a teen influenced the designs of some of the latest pieces, including the Ploop Armchair and the soonto-be-unveiled companion Ploop Chair.
These are examples of modernist design philosophy paired with traditional materials, culminating in an elegant partnership of complex computerised production methods with traditional wooden craftsmanship to create “a work of seamless quality with a contemporary edge”.
When asked why he chose London as his base of operations, Timothy answers frankly: “London is not only the financial capital of Europe, it’s also the design capital. It has so much to offer in architecture, fashion, interior design and the arts, from globally recognised greats such as Sir Norman Foster and Zaha Hadid to local up-and-coming designers and architects such as Fergus Fielden and Edmund Fowles, Lewis Jones and Paloma Strelitz.
As for the future of design, he states, “The greatest thing about London’s artists is the individuality each person brings to their craft. A vibrant, successful design community needs new ideas and input to keep it from stagnating. Old design philosophy interpreted in new ways or coupled with the new technology of the digital age is just one way London’s designers keep reinventing.”
www.timothy-schreiber.com
sustainable design
includes using
long-lasting
materials such as
steel, glass and
durable plastics.
However, good
design is the
best way to make
products last.
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