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Featured Artist Interview - Factory 1 Design
BY
Alex
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When Adobe first developed Photoshop, they had wanted to create a dream. A desire that manipulates what the eyes see and what they fail to capture. And destiny has it, a miracle happened and Photoshop not only emerged to become the world’s best-selling application, it also became one of most-frequently used verbs it could have easily earned (if not already) an inclusion in Merriam-Webster. Evidently, the result wiped out all other competition.
However, dreams will ultimately be dreams. If all Adobe had intended was to invent one, it has only won half the battle. A dream remains as paradisiacal as it should be when eyes are closed but when reality approaches, it perishes into thin air almost immediately. The irony behind this perfection is that whenever we wish to engage our imagination or subject ourselves to a full circle of hypnotism, we shut ourselves out from visual interference to release our senses beyond our sight.
The introduction of layers was a good move, for blessing us with the facility to modify separate elements within a complex composition. Be cautious though – any good guns, when abused, backfire. Exploitation of layers can bring in the jigsaw puzzle effect, and very much like the way it sounds – puzzling and frustrating. And we haven’t even mentioned the flooding megabytes. The decision to switch the important layers to invisible mode for a better picture of the finer details thus seems inevitable. You may merge the visible layers three thousand two hundred and twenty-four times, but more than likely, it's the ones you can't see that's definitive.
The creative industry survives by feeding the visual organs and while it continues its push into further fulfillment, the days of recognizing the significance of the unbroadcasted factors seemed to come to an end. Be it a symbolic political representation, a binding community relationship or just a simple set of stubborn principles, knowing what goes behind the making makes its worth goes far beyond the price tag.
When Factory 1 design said it’s a result of a collaboration, they meant business. Kelly Scott Hill and Larisa Pedroncelli formed this collaborative outfit from a “domestic” partnership that can only have too many unsaid stories, unshared emotions and unseen episodes. A partnership that provides the above-mentioned with personal balance of creation, spirituality and effective expression – not the kind of treatment that any Californian outfit would be likely to offer. Working with the same set of raw materials for all their projects, they appeared satisfied with not they have in their hands, but what they have in their minds. Two brains, two voices, one martini bar.
Many “behind-the-scenes” elements contribute to our creative influx, and every bit is equally essential in delivering the optimal export. Nothing can be more torturous than having a designer’s efforts neglected and forgotten, so it is highly appreciated if you can take a few seconds to unfold and read the little paper note beside the price tag before you decide to dispose of it in the nearest trash bin.
Bear in mind next time before you get to the cashier; take a second to find the “invisible layers”. If everything you see is everything you get, you may as well return it to where it came from.
TAXI >> Greetings. Welcome onboard TAXI. In your words, Factory 1 design is "a collaborative design/build studio", so what caused this collaboration?
Factory 1 Design >> this collaboration stemmed from our personal life as domestic partners. it seemed like a natural progression to move from separate creative careers to drive our own process and create meaningful works. it was also a personal exploration through constructs, methods and ideas.
TAXI >> What a delightful ensemble. You mentioned on your website that all elements are created using "a variety of materials including wood, steel, aluminum, copper, bronze, resin, glass and recycled objects." What's the most amazing combination that can happen from the above-mentioned? We take it as a sneak preview to your next creation.
F1 >> the materials often tell a story of their own which we integrate into a space. currently, this space 'has within it the elements of simplicity, exuberance, beauty, silence, color and concordance with the rhythm of life.' this actually comes from the 1973 wedding vows of our current clients which was the brief for our latest project.
TAXI >> Is there an ultimate ambition/vision behind Factory 1 design that you both share?
F1 >> we always keep our minds open as to the direction of factory 1. perhaps the ultimate vision would be to make what we do every day a means to affect the ideas and experiences of those who own, inhabit, or come across our work.
TAXI >> Deadlines are killers of inspiration, which you so demand of in your works. Are there deadlines to most of your works? If there are, how do you respond to them without losing the key?
F1 >> indeed there are deadlines involved and almost all of our work has an end user waiting to get their hands on the goods. we do our best to factor in an allowance for a bit of 'ponder time' but actually find the most inspiration comes under great pressure. during the execution/fabrication we try to remain as fluid as possible since solutions often refine and reveal themselves during the process. it's like the work has it's own voice and takes it's own time.
TAXI >> Describe to us the favorite piece of furniture you've ever bought.
Larisa >> i didn't actually buy it was acquired with kelly in the relationship. he made this incredible find in a second hand store.
Kelly >> it was a 50's era, two piece, 280 cm long sofa with timeless lines for $18. it was fantastic to look at and absolutely functional. we almost thought of finding a way reissue it ourselves.
TAXI >> Magazines today have a huge role to play, especially in the creative industry. What do you subscribe to?
F1 >> dwell, wired, print, metropolis, interior design, ID, fine woodworking, architectural record, how, san francisco magazine.
TAXI >> How do you foresee the outfit to grow in the next two years?
F1 >> we have been very happy maintaining a smaller studio where both partners can always have their hands on each project. although projects seem to be getting a bit larger in scope, we find size sometimes dilutes the focus and brings in pressures counter productive to the original vision. what we are really seeking in growth is a personal balance of creation, spirituality and effective expression.
TAXI >> If "Design" was a choice between "creating something different" and "creating something useful", what's your pick?
F1 >> hands down it would be something useful. over time an object will lose a certain amount, if not all of it's 'uniqueness'. at that point, it better be useful. ideally, one would discover a 'different' way of delivering the functionality of an object during the creation process.
TAXI >> Final question. If there's a TAXI in front of you right now, where will you be heading to?
F1 >> berlin
However, dreams will ultimately be dreams. If all Adobe had intended was to invent one, it has only won half the battle. A dream remains as paradisiacal as it should be when eyes are closed but when reality approaches, it perishes into thin air almost immediately. The irony behind this perfection is that whenever we wish to engage our imagination or subject ourselves to a full circle of hypnotism, we shut ourselves out from visual interference to release our senses beyond our sight.
The introduction of layers was a good move, for blessing us with the facility to modify separate elements within a complex composition. Be cautious though – any good guns, when abused, backfire. Exploitation of layers can bring in the jigsaw puzzle effect, and very much like the way it sounds – puzzling and frustrating. And we haven’t even mentioned the flooding megabytes. The decision to switch the important layers to invisible mode for a better picture of the finer details thus seems inevitable. You may merge the visible layers three thousand two hundred and twenty-four times, but more than likely, it's the ones you can't see that's definitive.
The creative industry survives by feeding the visual organs and while it continues its push into further fulfillment, the days of recognizing the significance of the unbroadcasted factors seemed to come to an end. Be it a symbolic political representation, a binding community relationship or just a simple set of stubborn principles, knowing what goes behind the making makes its worth goes far beyond the price tag.
When Factory 1 design said it’s a result of a collaboration, they meant business. Kelly Scott Hill and Larisa Pedroncelli formed this collaborative outfit from a “domestic” partnership that can only have too many unsaid stories, unshared emotions and unseen episodes. A partnership that provides the above-mentioned with personal balance of creation, spirituality and effective expression – not the kind of treatment that any Californian outfit would be likely to offer. Working with the same set of raw materials for all their projects, they appeared satisfied with not they have in their hands, but what they have in their minds. Two brains, two voices, one martini bar.
Many “behind-the-scenes” elements contribute to our creative influx, and every bit is equally essential in delivering the optimal export. Nothing can be more torturous than having a designer’s efforts neglected and forgotten, so it is highly appreciated if you can take a few seconds to unfold and read the little paper note beside the price tag before you decide to dispose of it in the nearest trash bin.
Bear in mind next time before you get to the cashier; take a second to find the “invisible layers”. If everything you see is everything you get, you may as well return it to where it came from.
TAXI >> Greetings. Welcome onboard TAXI. In your words, Factory 1 design is "a collaborative design/build studio", so what caused this collaboration?
Factory 1 Design >> this collaboration stemmed from our personal life as domestic partners. it seemed like a natural progression to move from separate creative careers to drive our own process and create meaningful works. it was also a personal exploration through constructs, methods and ideas.
TAXI >> What a delightful ensemble. You mentioned on your website that all elements are created using "a variety of materials including wood, steel, aluminum, copper, bronze, resin, glass and recycled objects." What's the most amazing combination that can happen from the above-mentioned? We take it as a sneak preview to your next creation.
F1 >> the materials often tell a story of their own which we integrate into a space. currently, this space 'has within it the elements of simplicity, exuberance, beauty, silence, color and concordance with the rhythm of life.' this actually comes from the 1973 wedding vows of our current clients which was the brief for our latest project.
TAXI >> Is there an ultimate ambition/vision behind Factory 1 design that you both share?
F1 >> we always keep our minds open as to the direction of factory 1. perhaps the ultimate vision would be to make what we do every day a means to affect the ideas and experiences of those who own, inhabit, or come across our work.
TAXI >> Deadlines are killers of inspiration, which you so demand of in your works. Are there deadlines to most of your works? If there are, how do you respond to them without losing the key?
F1 >> indeed there are deadlines involved and almost all of our work has an end user waiting to get their hands on the goods. we do our best to factor in an allowance for a bit of 'ponder time' but actually find the most inspiration comes under great pressure. during the execution/fabrication we try to remain as fluid as possible since solutions often refine and reveal themselves during the process. it's like the work has it's own voice and takes it's own time.
TAXI >> Describe to us the favorite piece of furniture you've ever bought.
Larisa >> i didn't actually buy it was acquired with kelly in the relationship. he made this incredible find in a second hand store.
Kelly >> it was a 50's era, two piece, 280 cm long sofa with timeless lines for $18. it was fantastic to look at and absolutely functional. we almost thought of finding a way reissue it ourselves.
TAXI >> Magazines today have a huge role to play, especially in the creative industry. What do you subscribe to?
F1 >> dwell, wired, print, metropolis, interior design, ID, fine woodworking, architectural record, how, san francisco magazine.
TAXI >> How do you foresee the outfit to grow in the next two years?
F1 >> we have been very happy maintaining a smaller studio where both partners can always have their hands on each project. although projects seem to be getting a bit larger in scope, we find size sometimes dilutes the focus and brings in pressures counter productive to the original vision. what we are really seeking in growth is a personal balance of creation, spirituality and effective expression.
TAXI >> If "Design" was a choice between "creating something different" and "creating something useful", what's your pick?
F1 >> hands down it would be something useful. over time an object will lose a certain amount, if not all of it's 'uniqueness'. at that point, it better be useful. ideally, one would discover a 'different' way of delivering the functionality of an object during the creation process.
TAXI >> Final question. If there's a TAXI in front of you right now, where will you be heading to?
F1 >> berlin