C R I T I C A L L Y A N A L Y Z E A D E S I G N P R A C T I C E O R

D E S I G N E R A N D M A K E C O M P A R I S O N S I N R E L A T I O N

T O T H E I R C O N T E M P O R A R I E S

O L A B I S I O L U B U K O L A B A N K O L E

Diploma 2, 2013

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

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Table Of Contents

Introduction.............................................................................................................3

Design According to Philippe Starck......................................................................3

Starck Amongst Others...........................................................................................5

The Object..............................................................................................................8

Conclusion.............................................................................................................10

Bibliography...........................................................................................................11

List of Figures

Cover Image: Philippe Starck

Figure 1: The Bibliotheque Nationale By Philippe Starck ...................................4

Figure 2: Bac chair by Jasper Morrison ..............................................................5

Figure 3: Masters by philippe starck.....................................................................5

Figure 4: Well Tempered Chair by Ron Arad .......................................................6

Figure 5: Ero(s) Chair by Philippe Starck............................................................6

Figure 6: The Juicy Salif lemon squeezer by Philippe Starck................................7

Figure 7: Teddy Bear Band by Philippe Starck......................................................8

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

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Introduction

I believe that a designer’s design philosophy is as powerful as the designs itself, however, and

probably because understanding the factors that produce the backdrop of a design statement, or idea

brings us closer to the designer in terms of understanding these designs.

On that account, this essay will examine and observe the works and stance of Philippe Starck in the

perspective of his design philosophy and relation to those of his contemporaries. I will also link

similar works of designers such as Ron Arad and Jasper Morrison to his in order to decide if his

philosophy is instrumental in shaping his actual designs.

Design According to Philippe Starck

While examining Starck's designs, it helped a great deal to separate his intent and implementation

of design from his actual design1. Mainly because I realized much later in the research that he

enjoys taking a jab at the perception of how we interact with everyday objects, questioning each

line in design, provoking emotions, and broadens the appeal of a niche object beyond convention

like in a psychotherapy session. The gospel is that his work pushes boundaries, opens minds and

still looks pretty fantastic.

Starck’s quirky, often provocative design is based on his belief that ‘users of the products,

furnishings, and interiors he designs are self-defined actors on a stage (of life)’2.

My interpretation is that the use of an object is a function of its user, Dongha and Boradkar (2002)

channel these same thoughts when they note “Every object, through its appearance, informs us of

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

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1 in terms of functionality and practicality of his designs

2 Sarna, Sarah. Past & Present: Designed by Philippe Starck . 27 Feb. 2013 <http://www.sarahsarna.com/blog/archives/5502>

what it is, and through its function advises us about what it can do.”3 just like the Bibliotheque

Nationale4 (Fig.1), a floor lamp created by Philippe Starck to support reading passion.

Figure 1: The Bibliotheque Nationale By Philippe Starck

From Functionalism to Modernism movements up until the 20th century, the majority of the designs

appear repetitive, bland and overly practical. Therefore, for a designer to stand out from “the

crowd” as it were, he would have had to come up with designs that were outstanding, and thought

provoking. Such designs were not far from the tip of Starck’s fingers and with time enriched him

recognition as one of the greatest industrial designers of our time. Of course, things have not

changed much since then, as winning designers are those that happen to think “outside the box”.

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

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3 Kim, Dongha and Prasad Boradkar “Sensibility Design.” : “Arizona State University”, 2002

4 is mainly a floor lamp, but has plenty of other uses :a light source, book case,and a charging support for modern devices

Starck Amongst Others

Starck, in an interview described his works as the earliest examples of 'democratic design',

stemming from the idea that exceptional products should not be exclusive and elite, but be

accessible and affordable. These ideas were heavily criticized by many 19th century critics,

particularly in Britain by John Ruskin, William Morris, and art and craft followers (Woodham, 1997).

Contrary to their opinion, the likes of Starck, Ron Arad’s and Jasper Morrison do not focus on the creation

of provocative and expensive single pieces, rather their designs are of usable household items that they help

to market for mass production within main stream manufacturers.

While comparing their products and design schemes, for example in (Fig. 2 and Figure 3) I observed that

there is only a slight contrast between Philippe Starck's designs and Jasper Morrison's. Morrison's products

are also sleek, and in construction both designs can be characterized by the combination of unusual

materials, a universal appeal and of course "democratisation".

Figure 2: Bac chair by Jasper Morrison Figure 3: Masters by philippe starck

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

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Yet, a typical Morrison design, even when "crystallized"5 or stirred by clients to develop grand

designs have an industrial, organic: do-it-yourself feel to it, and still elegant in their simplicity.

Ron Arad for one, combines constantly evolving technical capability, and never stops exploiting one

material and process after another evident in (Fig. 4): much like Starck’s pure and ironic designs,

employing unusual combinations of materials such as die-cast plastic seats as in (Fig. 5) or a stool

in the shape of wheel barrow chair. Remarkably, the continued advancement of his designs have

offered some intriguing answers, and have posed more questions to the concept of design, similar to

Richard Sapper6 , whose products are typically a combination of technological innovation,

simplicity of form and a hint of wit and wonder (Brandes, Sapper, 1993).

Figure 4: Well Tempered Chair by Ron Arad Figure 5: Ero(s) Chair by Philippe Starck

Starck and the likes of Ron Arad are known to consistently challenge the norms of design, they

turn natural properties of various materials to their full performance, thus making the movement of

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

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5 a departure from his self-imposed ethos of concentrating on industrial production

6 a German industrial designer based in Milan, Italy. He is considered one of the most important designers of his generation.

a form a vehicle for their art. Starck makes things such that design reveals itself as a self sufficient

problem solving process, creating a practical contact with its user as in (Fig. 1). As function over

form-y as it seems, this same man designed the Juicy Salif lemon squeezer 7 (Fig. 6) as

controversial as many of his other designs, yet a clear instance of form over function.

Nevertheless, Starck's approach to design is subversive, intelligent and always captivating even as

they transgress boundaries and destabilize expectations and his perpetual claims to a natural genius

are typically at the expense of his contemporaries.

Figure 6: The Juicy Salif lemon squeezer by Philippe Starck

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

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The Object

Starck is Inspired by postmodernity, and with this open-minded approach, he persisted with

products like his Rosy Angelis lamp, his furniture also often reworks earlier decorative styles. For

example, the elegant Dr. No chair is a traditional club chair made unexpectedly of injection-molded

plastic. While the material and form would seem to be both formulaic and innovative, these

paradoxes make Starck's work compelling.

During my research, I familiarized myself with Starck’s designs and almost gave a meaning to his

design philosophy. I perceived a rather deliberate inconsistency that reveal how much he seeks to

escape disciplinary frameworks and yet be free to embrace it all. In describing his ever changing

stance, a sand clock comes to my mind because he turns the form of an object upside down,

spinning the sheer core of its being inside out, as he did with “Teddy bear band” 8(Fig. 7).

Figure 7: Teddy Bear Band by Philippe Starck

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

88 A teddy bear with 3 heads, two of which are located on 3/4 of its limbs, created to imbibe fidelity in a child

His design approach, which i have named "meet-me-half-way" approach draws from both bottom-

up and top-down approaches to design. Through cunning incoherence, he aims to simultaneously

exhibit and ridicule himself – an antagonism also characteristic of his works. For instance, his

“Collection Guns“ lamps and “Collection La Vie”, recently designed for Flos, combine both a

critique of and a passion for consumerism, as well as a counterposition of morality and irony, in

order to create an object of mass appeal. 9

By the late 90‘s, Starck stipulated that morality, integrity and objectivity should be incorporated in

design in order to attain product longevity. One can almost hear echoes of Charles and Ray Eames,

who "wanted to make the world a better place 10.

In a recent interview with the German weekly DIE ZEIT, Philippe Starck had an epiphany, and

admitted "Everything I have designed is absolutely unnecessary," explaining “design is dead”11. I

notice marketing logic behind his narcissism and in this regard he clearly contradicts the heart of his

principles and designs. Naturally, designers and design observers contended and tried to reconcile

Starck's design cynicism with their own beliefs. David Armano and Bruce Nussbaum, for example,

refers to his democratization of design, they perceive this as the philosophy of business fixated

designers who develop products that conform to the limits of their passion and then try to hide it as

an understatement. On the other hand, as it were applying marketing strategies to an expendable,

outmoded device with little use to make it more appealing, is applicable to the postulation "design

is dead".

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

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9 Pure Village. Starck, Philippe. 28 Feb. 2013<http://pure.imm-cologne.com/category/extras/design-dictionary/s/page/2/>

10 Design Within Reach. Philippe Starck . 27 Feb. 2013 <http://www.dwr.com/category/designers/r-t/philippe-starck.do>

11 Nussbaum, Bruce. Design is Dead: The Raw Philippe Starck Interview . 14 Feb. 2013 < http://www.businessweek.com/innovate/NussbaumOnDesign/archives/2008/03/design_is_dead_1.html >

This is a contradiction coming from someone who has developed the reputation of the designer as a

sales strategy for the seemingly commercial products, as if products designed by design “icons” like

Starck can never be in error Nonetheless, this is him stylishly letting in on a significant part of his

design and the profession as a nonsense filigree where a designers make people buy what they do

not need for status.

Conclusion

In line with my findings, it is evident that the evolution of Starck’s design philosophy is what

shapes his designs and ideas. Therefore, there is no general yardstick for judging his designs in

terms of movement, philosophy or influence. Nonetheless, his designs are relatively fun, clever,

topped with profound considerations , matchless innovation and creativity; an undertone of

uniformity beneath the intensive overlay of subversiveness.

As designers we should make it a challenge to create timeless works, that exudes beauty , strength

and purpose, because this is the true essence of design.

Word count:1,461

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

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Bibliography

Books

Bertoni, Franco. The Architecture of Philippe Starck. London: John Wiley and Sons Ltd, 1994.

Brandes, Uta, and Sapper, Richard. Tools for Life. Steidl Verlag: Goettingen, 1993.

Centre Georges Pompidou. Starck in words. Paris: Centre Georges Pompidou service,

2003.

Dongha, Kim, and Boradkar, Prasad. Sensibility Design. “Arizona State University”, 2002.

Fiell, Charlotte, and Fiell, Peter. Designing the 21st Century. Hohenzollernring: Taschen, 2001.

Lloyd-Morgan, Conway. Philippe Starck. New York: Universe Publishing, 1999.

Lovell, Sophie. Furnish: Furniture and Interior Design for the 21st Century. Berlin: Die Gestalten

Verlag, 2007.

Manzini, E. . The material of invention. Cambridge, MA: MIT Press, 1989.

Morozzi, Christina. Philippe Starck: Minimum Design. Milan: 24 ORE Cultura s.r.l, 2012.

Morrison, Jasper. (Ed.). A World Without Words, n.p: Lars Müller Publishers, 1999.

---. The international design yearbook 14. New York & London: Abbeville Press, 1999.

Neville Colin. The Complete Guide to Referencing and Avoiding Plagiarism, New York: Open

University Press, 2010

Sapper, R, (Ed.). The international design yearbook 13. New York & London: Abbeville Press, 1999

Sparke, Penny. The Genius of Design. US:Overlook press, 2010.

---. A Century of Design: Design Pioneers of the 20th Century: Towards the millennium.

London:Octopus Publishing group, 1999.

Starck, Phillipe. (Ed.). The International Design Yearbook 1997. New York & London, Abbeville

Press. 1995.

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

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Sweet, Fay. Philippe Starck: Subverchic Design. New York:Watson-Guptill Publications, 1999.

Woodham, Jonathan, M. Towards the Twentieth Century: Twentieth Century Design. NewYork:

Oxford University Press, 1997.

Journals

Aslet, Clive.”The Starck truth about Paris “ Country life. 206.2 (2012): 68-69.

Such, Robert. “Starck’s tales of the unexpected” Blueprint. 206 (2003):95

Internet Articles

Design Within Reach. Philippe Starck . 27 Feb. 2013,

<http://www.dwr.com/category/designers/r-t/philippe-starck.do>

M.E. Design Magazine. Phillipe Starck Interview . 27 Feb. 2013,

<http://www.medesignmag.com/people/518/philippe-starck-interview/>

Nussbaum, Bruce. Design is Dead: The Raw Philippe Starck Interview . 14 Feb. 2013, <http://

www.businessweek.com/innovate/NussbaumOnDesign/archives/2008/03/design_is_dead_1.html

>

Pure Village. Starck, Philippe. 28 Feb. 2013<http://pure.imm-cologne.com/category/extras/design-

dictionary/s/page/2/>

Sarna, Sarah. Past & Present: Designed by Philippe Starck . 27 Feb. 2013 <http://

www.sarahsarna.com/blog/archives/5502>

The Coherent-Incoherence of Philippe Starck by Olabisi Olubukola Bankole

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Images

9to5 Images. Philippe Starck . 26 Feb. 2013< http://9to5mac.files.wordpress.com/2012/04/designer-

philippe-starck.jpg>

Daddy Types. Teddy Bear Band by Phillipe Starck. 20 Feb. 2013 <http://daddytypes.com/archive/

starck_teddy_bear_band.jpg>

Daily Tonic. Bac chair by Jasper Morrison . 17 Feb. 2013 <http://www.dailytonic.com/wp-content/

uploads/2010/03/Bac_nero_black_b.jpg>

Design Boom. The Bibliotheque Nationale By Phillipe Starck . 27 Feb. 2013 < http://

www.designboom.com/weblog/images/images_2/2011/joyce/starck-10.jpg>

Design Boom. Masters by philippe starck . 17 Feb. 2013 <http://www.designboom.com/cms/

images/-a02/ma06.jpg>

Dezeen Magazine. Well Tempered Chair by Ron Arad . < http://static.dezeen.com/uploads/2010/02/

Well-Transparent-Chair.jpg>

The White Room The Juicy Salif lemon squeezer by Phillipe Starck <http://www.awhiteroom.com/

productimages/alessi-juicy-salif-citrus-squeezer.jpg>

Utility Design. Ero(s) Chair by Phillipe Starck <http://www.utilitydesign.co.uk/mall/UtilityDesign/

customerimages/products/l_4835.jpg>

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