![]() But to go further with the production, I needed to find a way to prefabricate. Until this point, all the lamps were only made by hand, adjusted, drilled, filed and polished. My lamp, Signal, was a big turn in my work because of the use of computer manufacturing. I also spend some time doing a 3D model, to set proportions and verify the measurements. Then I look at profiles, thinking on what will become the body of the object. I do quick sketches to bring the idea to life, it helps myself to better visualise it and give it a scale. Finding specific assemblies for structural-formal purposes are most of the time the beginning of an object. I always say that my products have a lifetime guarantee it is kind of a joke, but well, who knows.ĭM- What is your design process like, and how has it changed since you began? With the years the surface change, patina leaves traces. Like aluminum, brass is easy to work by hand, and it doesn’t need any protection. I prefer to use simple industrial profiles because I know they will last forever- because somehow they are true. The first time I went to a warehouse to choose profiles, I was amazed by the weight of a thick brass rod, the smell of copper or the thickness of massive aluminum. The second reason is that a lot of contemporary design lacks honesty, because good materials cost more. I like to assemble prefabricated parts together, simple industrial elements, something one could link to an affection for the modernist movement. I also work with limited tools and machines, which in a way has been a help in making design decisions. Even if until now I didn’t reach the point because of the small quantities I produce, I never built an object without thinking of a simple way of doing a series. I don’t pursue the idea of something I can’t build myself, and I always look for processes that could be easily repeated. RK- I guess the first reason is that I like to give myself constraints. What is it about such an approach that is so important to you? Functional, simple and focused on the interaction between respective materials. The thought of doing sculptures for themselves always made me sceptical.ĭM- Many of your works, if not all, seem to be created with an air of Swiss-German aesthetic almost ‘Bauhaus-esque’, if you like. I am interested in compositions, impressions, atmospheres. The clear purpose, bringing light in a room, is also comforting. The only user-interface is the switch, the rest is free of interpretation. Unlike a chair or a table, it is not limited by a specific height or measurements corresponding to specific usages. It is a simple object with a simple function. As I see it today, design is a simple way to focus on the pursuit of an idea, to its physical transcription. An architect spends most of his time in front of a computer, and a large part of the work only remains on paper. To experiment with forms and materials, not only by drawing shapes but also by the act of building them, is something I found missing. Seeing how the constraints of the architectural program, the context, the internal hierarchy, were leading to strong design compromises, I started to work for myself on small objects, to achieve the wish of an independent process. Following an exchange in Berlin and my graduation in 2012, I came to Basel to work for an architecture office. RK- I began studying architecture in 2007, after two years of technical drawing studies in Paris. How big a role has education played in it, and what was the turning point in focusing nearly exclusively on lamps? ![]() With a focus predominantly on lamps in particular, his creations- futuristic, uncanny and beautifully strange, remain a bastion of hope for independent craft, creation and their respective cultures.ĭM-Tell me a little about your journey as a designer/architect thus far. The design works of Basel-based Raphael Kadid are sculptures in their own right beautiful objects that exist as examples of accumulative, eclectic inspiration lineages that span across offerings from the past century.
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