In the ever-evolving landscape of design, some creators possess a unique ability to envision the result before a pen hits paper or materials take form. Saif Faisal, a luminary in the design realm, stands as one such visionary. As we delve into a conversation with him, we unravel the intricacies of his design philosophy, exploring how his preconceived visions serve as the guiding force in shaping remarkable creations. Join us on a journey through the mind of a designer who sees the destination before taking the first step.
Foyer (F): Can you recount the pivotal moment when you realized that a career in design was a viable option, and how did that realization shape your educational journey? Furthermore, your diverse background encompasses training in architecture, Formula SAE racing, and woodworking. How do these varied experiences converge to inform your current approach to design?
Saif Faisal (SF): Well, it wasn’t a specific moment for me; it was more of an explorative journey. It started as a playful exploration during my childhood, like any other child experimenting with various things. As I grew older, my interests expanded into biking, which eventually led me to delve into the critical aspects of spaces and experiences. The transition into architecture was not initially my plan; I had aspirations for automotive design. However, as there were limited options for a Bachelor’s in Automotive Design at the time, I opted for architecture to pursue specialized studies later. Fortunately, I stumbled upon a Formula SAE project in college, providing me with valuable industrial exposure early on—a rare opportunity in Indian universities that often prioritize academics over practical experience.
This exposure allowed me to understand the process of designing and building what we envisioned, giving me a well-rounded understanding of the field. Eventually, my focus shifted towards industrial design, where the scope extended beyond cars and bikes to include a wide range of products produced by industries. Architecture, in my perspective, expanded to encompass spaces, furniture, and more. The field of industrial design fascinated me due to its versatility. As the design landscape evolved, digital projects became integral, marking a significant shift in the last decade or so. The design field remains an ongoing journey filled with challenges, new projects, and continuous learning. It’s about embracing the unknown and navigating through unexplored territories, making it more of a continuous journey than a single defining moment.
F: Alright, let’s delve into your design philosophy, which you’ve often described as rooted in essentialism. How does this principle shape your approach, particularly in achieving both functional and poetic expressions in your designs?
SF: Essentialism is a term widely discussed in the design industry, often leaning towards either the traditional or the minimalist and industrial extremes. I find myself steering away from these extremes, as essentialism, in my view, is about the meaning and relevance of a design within a specific context. If, for instance, you’re dealing with a classical project related to restoration in architecture, you can’t adopt a minimalist approach; you have to preserve and enhance the traditional essence. On the flip side, a technical project, especially in the digital or electronic realm, demands a completely different perspective.
Essentialism, for me, revolves around being relevant and meaningful not only in the design of the product but also in its user experience. The context matters whether it’s a craft-oriented project or an industrial one. It’s about understanding how the end user interacts with the product and ensuring that it remains relevant in that context. A visually stunning project that fails to function effectively becomes irrelevant if it doesn’t serve its purpose well. This is where human-centred design becomes crucial. In the realm of poetry, essentialism also plays a significant role. A poem, to be truly impactful, needs to be relevant and resonate with its audience. Similarly, some products have stood the test of time, remaining relevant and meaningful for centuries. The longevity and sustainability of a design, whether in the physical or digital realm, hinge on its cultural, social, and functional relevance.
As humans, our emotional connection to products is vital. A design must appeal to our souls and evoke emotions, or else it becomes irrelevant. Beauty, in this context, is not just about aesthetics but about the product’s meaningful connection to our lives. If a design lacks this essential beauty, it loses its relevance and purpose.
F: You’ve touched upon the importance of evoking emotions in your designs. Could you succinctly express the specific emotion you aim to elicit when people encounter your work?
SF: It all comes down to relevance. Each product has its distinct purpose, much like the difference between an essay and a poem. An essay serves a practical function, providing information, while poetry aims to touch the soul. Both hold their weight, each with a different kind of relevance. Emotions for products, whether it’s a sculpture or a craft item, may not necessarily align with practical values.
F: So, it leans more towards the emotional side, like poetry.
SF: Exactly. Depending on the product, whether it’s a sculpture rooted in history, tradition, and culture, or a practical tool like a bike, emotions vary. For instance, a well-designed bike may not carry the emotional weight of a cultural artefact, but if it performs its function beautifully, that, too, becomes an emotional aspect tied to user experience.
F: Can you walk us through your design process, shedding light on the roles of self-initiated projects and how inspiration from social concerns, materials, crafts, or curiosities shapes the outcome of your work?
SF: The design process is a dynamic interplay of various elements. Sometimes, it begins with observations – noticing something without a specific brief and realizing the potential for a project. Other times, it’s sparked by a concept that just pops up. There’s no singular approach because inspiration can manifest in diverse ways. When it comes to materials and technology, it’s a significant aspect that often sets the parameters for a project. The concept needs to adapt itself to the available manufacturing techniques and materials, creating a delicate balancing act. It’s like crafting a recipe where all the ingredients need to come together to produce a final dish that not only tastes good but captures the essence of the intended outcome. In that sense, the design process is akin to cooking – a careful blend of various elements that, when combined well, results in a thoroughly cooked and satisfying final product.
F: Operating internationally with your studio SFDW must bring unique dynamics to your design process. How does working across different continents influence your approach, and what challenges and opportunities does it present?
SF: Design itself comes naturally to me; that’s the easy part. However, the challenges lie in understanding and navigating diverse markets across continents. Each place, whether it’s Italy, Denmark, Taiwan, or the US, has its unique characteristics and demands. One significant challenge is cultural perception. There’s often a challenge where Indians are not readily associated with contemporary design. We face a similar journey that China experienced not too long ago. The perception is that we’re comfortable in our cocoon, not challenging ourselves. However, I believe there’s immense potential, given the population we have. While the software industry has made a mark globally, the design industry faces challenges in breaking out of its bubble. We often talk about “Made in India,” but we need to go beyond just providing tech labour and focus on manufacturing and design.
Countries like Taiwan and South Korea have navigated similar paths but are much further ahead. Japan, of course, has a longstanding design tradition. For us, it’s about learning from these examples and positioning ourselves on the international stage, showcasing the capabilities and potential that the Indian design industry holds.
F: In our previous discussions, you mentioned your interest in sociology, philosophy, and cultural anthropology. How do these interests converge and contribute to shaping your creative explorations and narratives, ultimately embedded in your designs?
SF: These interests are integral to my creative process. Sociology and cultural anthropology, in particular, play a significant role in shaping my designs. It all comes down to keen observation of different cultures, their habits, and their essence. It’s about distilling the core of each culture and understanding how materials are perceived differently in various parts of the world. Italy for example, may have a different association with materials compared to Japan, reflecting their cultural nuances. Cultural anthropology helps in comprehending their connections with nature, modernity, or expressions of fashion. On the other hand, Scandinavia often reflects its closeness to nature in product design, utilising natural materials. These cultures are distinct and require a nuanced understanding.
Studying and understanding these cultures and markets is like having observational tools. It aids me in comprehending how users interact with products, helping me capture the essence of different cultural perspectives. So, these interests serve as invaluable tools in my design process, allowing me to observe, understand, and infuse diverse narratives into my creations.
F: In your description of good design extending beyond the physical and material sense, how does design have the potential to shape culture and fulfil social responsibility?
SF: Design, in essence, is a connector. It ties together history, traditions, and our daily lives, shaping how we interact with the world. Take smartphones, for instance – a design that has become a global force in shaping our collective behaviour and identity over the past decade. Digitization, a product of design, has played a significant role in shaping us as a global species. However, with this power comes responsibility. We must be cautious about what we introduce into the world. The shift towards electric cars, for example, may have consequences that we haven’t fully considered. It’s about understanding the broader impact of design choices and not merely jumping from one problem to another.
Design, I believe, carries a social and cultural responsibility. It contributes to shaping our cultural identity, and as a society, we’ve evolved significantly from our predecessors. We must consider the sustainability of such changes and question how much deviation we can afford as humans with free will without jeopardizing our existence. Design is not isolated from these considerations. It’s akin to being careful with our words – what we say and opine matters. Design, too, is not just about physical products; it has transcended into the digital realm, influencing us on a profound level. With great power comes great responsibility, and design, especially in the digital age, has become deeply integrated into our daily lives.
F: You’ve highlighted the importance of finding the right balance between technology and maintaining the human factor in your creations. How do you navigate this delicate balance in your work?
SF: Technology is a tool, not an end in itself. There’s a need for a collective thought on how we approach progress. Looking back at history, not all forms of progress and growth have been beneficial. The blind pursuit of GDP and growth, especially in the Western economic model, can lead to disastrous consequences, like the destruction of local industries and ecosystems for the sake of profit. The major problem lies in the Western way of running economics, driven by blind pursuit and multiplication of profits. It’s about reaping rewards without considering the consequences for others. My solution to this would be to take a step back, adopt a slower approach to life, and focus on qualitative aspects rather than blind quantitative growth. However, this is a challenging shift, especially considering how deeply entrenched we are in our current way of living.
On an individual level, it’s possible to make conscious choices, but the challenge lies in bringing this awareness to the masses and influencing policymakers and governments. Comforts that seem convenient may harm us in the long run, such as the food we eat becomes a source of harm rather than sustenance. It’s a mirage of comfort that can be detrimental to our well-being. In terms of design, my approach is to be cautious, take technology slowly, and be frugal with what we have. Rather than going outright for the latest advancements, it’s about mindful and thoughtful integration, considering the long-term consequences. This approach aligns with my belief that comfort, as it appears today, may be doing more harm than good. It’s about taking a step back, being cautious, and approaching progress with a mindful perspective.
F: Collaboration seems to be a significant part of your career, and you’ve had positive experiences with Scandinavian brands and a Taiwanese-American company. Can you share more about the people you’ve enjoyed working with and those who have inspired you the most? Additionally, are there specific individuals or groups you aspire to collaborate with in the future?
SF: My experiences with Scandinavian brands have been particularly rewarding. There’s a unique synergy in our collaboration. Also, working with a client from Taiwan, an American-Taiwanese company, has been a positive and enriching experience. Now, I’m excited about potential collaborations involving racing cycles, specifically in Europe and the US. Given the specialized nature of this industry, there are only a handful of manufacturers who can handle such niche products.
As for finding collaborators, it’s about interacting with creative directors and product managers, understanding their vision, and evaluating their current and past work. This process is crucial to ensure alignment and shared goals. For instance, when working with watch brands, it’s essential to grasp the uniqueness of each brand in a diverse field. Continuity becomes a challenge in an era where short-term gains often overshadow long-term vision. Many industries, including cars and bikes, face this struggle, where short-term profits may compromise future success. Balancing immediate gains with long-term sustainability is a significant challenge in today’s fast-paced business environment.
F: Your approach to design involves envisioning the final product from the outset. Could you share an example of a project where this vision played a crucial role in shaping the design outcome?
SF: Most of the time when I embark on a design, I already have a clear image in mind of what the final product should look like. This mental image serves as a guiding vision throughout the process. It’s like having a snapshot of the destination, and then I work backwards, step by step, to materialize that vision. Whether it’s sketching or physically crafting the design, the initial vision remains the anchor point that guides the entire creative process.
F: Now, moving to the last question: Balancing humour and seriousness in your work is an interesting aspect. How do you infuse a sense of playfulness into your designs while upholding a commitment to quality and longevity?
SF: Balancing playfulness with quality and longevity is about sustainability for me. Playfulness, in this context, involves creating an interactive and engaging experience for the user. Whether it’s a tray or a bottle opener, the design should invite users to interact with it playfully. The goal is to evoke a sense of intrigue and interest, making users go, “Oh, this is interesting.” So, while playfulness adds a layer of engagement, the commitment to quality and longevity ensures that the design stands the test of time and aligns with sustainable practices. It’s about finding that delicate balance between whimsy and enduring craftsmanship.
In the tapestry of design, Saif Faisal’s commitment to envisioning the final product first emerges as a beacon of creativity. Through our dialogue, we’ve witnessed the delicate dance between his visionary approach and the tangible outcomes it produces. From Scandinavian collaborations to infusing playfulness into designs, Faisal’s insights showcase a nuanced understanding of balancing whimsy and enduring craftsmanship. As we conclude, we’re left with a profound appreciation for the artistry that stems from a clear, guiding vision—a testament to the transformative power of design when coupled with foresight and purpose.
