Founder Richard Rhys describes the Pattern Foundry as “a conceptual factory” where existing ideas and archival materials collide with the new to produce designs. He translates these new pattern-based designs into objects such as ceramics, textiles, carpets, etc. The patterns are stunning and Richard has even worked with one of my heroes, Wim Crouwel, so I was keen to find out more…
What’s the most important thing to know about The Pattern Foundry?
That it has a history, and archiving is all about taking time before meaningful products emerge.
Where did the idea for Pattern Foundry come from?
I felt the need for a place, even as a student, where various patterns could co-exist and be accessed for design and artistic purposes. Thinking syncretically about metal casting, about archiving material, about curating, about manufacture, et cetera, surfaced in the form a conceptual factory of sorts.
What’s been the most exciting collaboration so far?
One of the most fascinating collaborations has been with the Dutch designer Wim Crouwel. Type patterns that came out of the linear grid that all his graphic works were based on, specially his type designs, which were pattern experiments with no specific purpose. This, the foundry is now going to release like this pattern New Alphabet.
How does the design process work from pattern to product?
Well, sometimes, it’s the other way round: from product to pattern. for instance, the physical limitations around one of the tiles, Dash, led us to myriad patterns and possibilities. Learning more about the manufacturing process brings up the challenge of executing a particular pattern in a specific way.
What’s your favourite part of the process?
The beginning. The conversations without which nothing would happen. And when things could go in any direction, when things are not fully scripted.
Describe a really good day and a really bad day in the life of Pattern Foundry.
Riding into the studio early on a sunny day, or for that matter a rainy day. A strong kick from a double espresso, translating a rough concept into a workable form, addressing a few trade inquiries, furthering an idea with a collaborator I’m working with, and so on… A bad day would be when fabrication issues arise that at first seem totally impossible to get around, such as the glass printing I am currently working on.
What are you most proud of?
Putting the Foundry together.
What advice would you give to a new designer?
Take the knocks, as quick as they come.
And finally, what’s your favourite colour?
That question conjures up a petrol rainbow for me. or, put it another way, it’s just difficult to hone in on one specific colour. at this particular moment, it’s the sky, the colour of chicken bone. At another moment black or its opposite, white. Which is after all, just a shade of grey, including the colour of your orange juice.
Further reading for the especially geeky:
- interview :: vera & kyte
- interview :: the future perfect
- interview :: timorous beasties
- interview :: resurface designs
