Whitewall daily

WHITEWALL: How would you describe your approach to design? What do you consider to be most essential to your work?

BRAD ASCALON: I think that what is most important about any art form, whether its furniture, painting, or anything else, is that you are looking for a certain balance. I think the concept or feeling is the same, regardless of the type of artist. With painting, it’s about when you know that the painting is done, when it is just right, when it’s finished. And for design it’s the same thing. I mean you work on a piece over and over and over again, and at some point you know that it’s done. This may be arbitrary to most people, but on a personal level, you know what you’re looking for, and when you’ve accomplished it. I think there is something really important about finding that last step and feeling that it is resolved. To me the most important aspect of design is finding the perfect proportion. Proportion is everything. If a table is a half-inch too high or a half-inch too wide, then it is not right. And again, this may be very personal, but I am constantly looking for the perfect proportions every time I go into a design.

WW: How would you say your work has grown or evolved?

BA: When I first started as a student I was designing all these crazy pieces of furniture because they were of interest to me at that time. Then I got into the real world and especially here in the US, and in Europe to a certain extent too, I realized I had to tune it down. I started to simplify everything. I stopped trying to be so crazy and conceptual with my work, and tried to design pieces that have a good foundation. I began to design really simple, elegant pieces that I hope will last over time. I think what every designer wants is to create a classic. I’m not attracted to trendy designs. I have a client here in NY who is manufacturing some of my work. They are the main distributor for several Scandinavian brands, and they told me that in Sweden, families will save up for furniture in the same way they might save for a car. They know it will stay in their family forever. There is something so amazing about that cultural approach.

WW: I know you have discussed the influence that music has had on your work as a designer. How exactly has music influenced you? Is there a direct relationship between certain designs and certain music?

BA: I grew up in a house full of art. This was mostly abstract work, sculptures and paintings by my father, his siblings and my grandfather. When I was growing up, my first passion was music, and it still is. When I was learning piano it was in a room full of abstract art. So, on a subconscious level I related music and art really easily.

I think that when I first started designing, I would look back after the fact, and at first I thought there was a direct relationship. There was a certain rhythm to my work that was very musical. But I think that was a very straightforward way of looking at it. Over time I realized that the two are so similar, and it might be interesting to find opportunities to combine these art forms. The soundscape Ourboros, which played in the VIP lounge I designed at PULSE, was actually the first piece I’ve written in years, and that was my first attempt at combining music and design.

As for specific music, one of my all-time favorite composers is Philip Glass. I listen to it a lot when I’m sketching new designs, because it’s simple. It elevates me. It’s very smart, and I think it might define how I’m moving with my groundwork, so that it too is more elegant and intelligent.

WW: Are there any designers who you might say have been particularly inspirational to you?

BA: Yes, absolutely. Leonardo da Vinci. My first big paper was on Leonardo da Vinci when I was in eighth grade. I think probably Philippe Starck has also influenced me. Going into school I didn’t understand his design, but the more I studied his work, I began to realize that he was a genius. He really knows how the viewer will react to things, especially when you walk into a space that he’s designed, such as the lobby of the Delano in Miami. It is about the juxtaposition of scale and time-periods, in which every element just off-sets another. Right now I think two of my favorite designers are the British duo Barber Osgerby. I believe they are doing pieces that will be classics. I don’t think they are trendy - they are smart and timeless.

WW: Is there any sort of classic modern design that may have shaped the development of your own work?

BA: The Barcelona Chair by Mies van der Rohe is my favorite design of all time. You couldn’t make it any better. It’s gorgeous. Marcel Breuer is another designer who was just so revolutionary, and has inspired me. But I’m usually more interested in design rather than designers, so I have favorite designs rather than favorite designers. These change from year to year.

WW: What would you say is the design that you are most proud of at the moment?

BA: A lot of the pieces I am most proud of are not even produced yet. They are only computer rendered concepts, but they are pieces that I really love and want to find the right manufacturer for. As of this moment, I’m most proud of the Spindle Table I designed for Ligne Roset. The funny thing is that when I originally showed that piece to them, back in April 2007 in Milan, I couldn’t believe that was the design they were after. I think that they saw more potential in it than I did. I had to work through the kinks, because it was still a concept. But then when they sent me photographs of it, they had a vision of something which they were able to hone in on. I’m really proud of how they were able to interpret my original concept, and I’m so thrilled to be working with them because they are a company with such a tradition of making high-quality, beautiful, modern furniture. I am actually only the second American to design for them, so that is really an honor. But I could be most proud of a different design tomorrow because I always tend to be attached to the newest piece I’ve done.

WW: Well, that leads to the next question, which is what are you working on at the moment? Do you have any projects that are coming up?

BA: Absolutely. I’m working with one company called Hightower. They’ve primarily been a distributor for Scandinavian brands, but they wanted to develop their own line. We just launched our first collaboration called the Martini Collection. It is composed of tables and stools. There is an economic angle to our collaboration as well, so this series of stools and tables all use exactly the same tooled base. But we were able to create a line of 5 or 6 products from it. We are also working on a lounge chair with the same idea.

I am working with another company, in China actually, called Domaine Furniture. They have been a great company to collaborate with. They are one of the first Chinese companies trying to create a design scene in China. A lot of Chinese manufacturers have terrible reputations for ripping off other design, and not producing quality work. But Domaine are creating work of gorgeous quality. They started working with me in order to help up the look of their line. We are doing pieces for the home and contract markets, from coffee tables, to bookshelves, to lounge chairs. About six pieces have launched so far, and we’re constantly working on more.

I’m also working on a new project, which is with a company called Naula. In 2007 I met a custom furniture maker named Angel Naula who was interested in having me design some pieces for him. When my wife and I were having trouble finding a new sofa for our apartment, I thought maybe I would just design something myself. So I found his card and gave him a call. I suggested that I could design some work for him if he would make us the sofa. He made it, and I helped him start designing some stuff for an upcoming design show. I started designing the tradeshow booth, and before I knew it I had designed a good part of the collection we exhibited at the show. Then last year he took me on board as his Design Director. This was much different than anything I had done in the past, because usually I will design furniture, and it’s up to the company who is manufacturing it to produce it and market it. But now this is a completely different world. He really makes exquisite products. As a custom furniture maker, the quality is truly impeccable. I just knew that I had to work with him. He is a third-generation furniture maker from Ecuador, and I’m a third-generation designer. And we click. So this is my passion project now and I see a big part of my future with them.