The industrial designer finds himself in the middle between mass production and man—they are situated between production and consumerism. While they have to be creative, the person who produces products has to follow an almost mechanical action. This project critically examines the role of the designer, offering another way to look at an icon—the task lamp that has grown tired of its own duplication.
Advisor: Nati Shamia Opher
Photo credit: Daniel Hanoch
Designed at Bezalel Academy of Arts and Design
This project was my graduation project from Bezalel Acadamy of Arts and Design, and it reflects how I feel about industrial design. Allegedly you design for people, you care for their needs while paying attention to ergonomics, comfort, ease of use and desirability. In reality you serve the industry, helping to manufacture false needs at the expense of the workers that produce them (and, in a way, the people who buy them).
In this case, overmolding is a technical term that describes the injection of a soft material over another material. But if you deconstruct it, overmolding becomes that much more interesting—the over use of the molding process (one form of mass production).
Repetition, reproduction, duplication…
By taking the classic task lamp and casting it in silicon, I wanted to free it from it's rigid functional heritage and create a looser, more fun product that doesn't quit behave like you'd expect—an art piece that could be mass produced.
A major inspiration to this piece was Banksy's graffiti work and the way he approaches icons, using all that they hold to send a message against themselves. In a way, the mold correlates to the graffiti's stencil, the main difference being that graffiti is often there to criticize.
If you apply the ability to duplicate a message, it doesn't matter if it's in 2D or 3D, if it's mass produced or a 'one off' work of art. If you put all of this together, you can use the industrial process as a way to send a critical massage in large numbers.