Interviews with Miles J Rice

As with some of the best furniture designers in the world, such as Joseph Walsh, Sam Maloof and James Krenow, I came in at a different angle as I never studied design. Like the aforementioned, I found my unique visual language by building until I discovered designs that were uniquely different from other furniture out there whilst having a common theme between them.

It might not have been obvious when I was a child that I was going to become a designer but looking back, I do not think there was a better choice for me. I have always been a dreamer, visualizing in my head, doodling, making little objects and imagining stories around them. I see designing as the combination of all these, dreaming up designs, drawing the initial sketches and building models.

The design process starts in my head, visualizing shapes and forms interacting with their surroundings. A very important part of this visualization is thinking of the use, of a specific surrounding for the design. Once I achieve “dream up” a design that is both sitting proudly in its intended space and is unique and surprising, I start drawing pencil on paper. The next step is building models to finetune the designs.

Being a designer does not come with quick successes, good designs take time. Being able to not give up throughout the process of designing very special pieces, not to cut corners and settle for something less than what makes you proud and to draw from the delayed gratification that awaits at the end of it can be so rewarding. This feeling is the best motivation.

First, I taught myself carpentry as I believe that only if you know the material and how to work it, such as the techniques, you understand what is possible. My first pieces centred very much around the natural beauty of the material. Over time I found my unique visual language of combining this natural beauty of the material with timeless sculptural shapes.

For future projects I am looking forward to working with other enthusiastic craftspeople who are, like me, pushing the boundaries of their crafts regarding design and the crafts techniques. I see a new generation of craftspeople emerging with a great admiration for the traditions as well as new innovative ideas. I believe in the strength of putting creative ideas together when the design partners come from very different angles. Later on in 2020, we are opening our own showroom featuring also some of these highly talented craftspeople in historic premises dating back to the 14th century.

Come in with a fresh view. Build and make until you find what works and identify your own style. Do not become influenced by trends. Good design sets trends, trends set interchangeable designs. I strongly believe in the uniqueness, having your own visual language as a designer.

Beauty meets function. My "golden rule" in design is: Function, form, and beauty combined, realised in the highest quality craftsmanship.

For me, it is important to create timeless pieces of furniture, that becomes a family heirloom. Family is the most important unit of society as it shapes us to who we are. I want my pieces of furniture to live with families across generations. This also benefits the environment as these pieces are not ending up filling up landfills.

I entered the A’ Design Award because of its reputation and my experience did definitely live up to it. Especially for a new designer, it is incredibly valuable to have my designs reviewed by industry experts and to a fair chance of winning compared to bigger companies. In this sense, the A’ Design Award truly awards great designs.

The inspiration for the Augusta dining table was to celebrate a strong family bond. Through its name, our company Rice & Rice Fine Furniture honours this important bond and commitment. The business could not have been created if it wasn't for the support and inspiration of the family. The name Augusta carries a very significant meaning in the family.

The Augusta dining table is a new interpretation of one of the classic dining table designs. I wanted to ensure for the traditional purpose of bringing family and loved ones together to remain clearly visible whilst this table reinvents the concept of a 4-legged table. The table legs emerge from the ground as if they are growing from the same invisible root to hold up the book-matched tabletop. The key aspect for the Augusta dining table is the family building a strong unit, rooted in the same core. I have selected European walnut wood as I believe this represents this concept well. The Rice & Rice family comes from England and Germany This type of wood was chosen from a tree popular in both regions. The walnut tree also symbolizes wisdom and growth. Rice & Rice Fine Furniture believe that the wisdom of the generations before us allows us to grow strong to withstand storms and difficulties in life.

Whenever I design, I visualize the object in its intended surroundings. For the Augusta dining table, I envisaged it being the heart of a family home, for families to come together to share their experiences and to create special memories forever tied to this table. The Augusta dining table will be available to customers globally to create memories for families all over the world.

The name Augusta ties many generations of our family together. Besides this family connection, the name carries the meaning of being venerable, calling forth respect through age, character and attainments. I strongly believe that without the respect for our ancestors and the wisdom they have to share we lose an immense source of inspiration and knowledge. In this sense the name Augusta carries not only a personal meaning for our family but also an ideal for families across generations to value one another.

The starting point of the design process was the image of a solid core or root from which new life was growing upwards. The initial drawings were very figurative around this motif. The main design step was to minimalize the concept to the point where the upwards theme remains visible whilst creating a clear and suggestive table design. The uniqueness of this table is in its simplistic yet unexpected design.

The creative challenge of this piece was on how to reinvent the design of the traditional 4-legged rectangular dining table and have it carry the sense of an invisible core that enables growth.

As with some of the best furniture designers in the world, such as Joseph Walsh, Sam Maloof and James Krenow, I came in at a different angle as I never studied design. Like the aforementioned, I found my unique visual language by building until I discovered designs that were uniquely different from other furniture out there whilst having a common theme between them.

Having my own design studio, I own the risks, but it also gives me immense freedom. I am in the fortunate position to design what I like. For me, it is a responsibility to create timeless pieces of furniture, that survive the test of time and become design classics.

I believe you will feel it in your heart if the design is right. Also, put it in front of the right people who have an eye for design and who do not shy away from giving you honest feedback.

Having passion and never giving up.

One of my favourite designs is the Sculptura dining table as for me this was the breakthrough in finding my personal visual language. It is a truly unique design with its free-flowing form and realised with craftsmanship excellence.

Be open to feedback, but only from the right people.

Beauty meets function.

My wife, as well as my toughest critic.

Being a dreamer, my passion, and my ability for visualization.

Being self-trained there have been many obstacles, especially gaining recognition for my work. This gave me the determination to push myself onwards to prove myself as a designer.

I am currently working on a big collection of hand-sculpted gallery pieces. I am also planning collaborations with other crafts.

For my work to be instantly recognised as my own work.

I see the responsibility of design and being a designer twofold. For me, it is important to create timeless pieces of furniture, that become family heirloom. Family is the most important unit of society as it shapes us to who we are. I want my pieces of furniture to live with families across generations. This also benefits the environment as these pieces do not end up filling up landfills.

It can take from a month to several months. Sometimes I come back much later to rework what has not worked in the past.

The design process starts in my head, visualizing shapes and forms interacting with their surroundings. A very important part of this visualization is thinking of the use, of a specific surrounding for the design. Once I “dream up” a design that is both sitting proudly in its intended space and is unique and surprising, I start drawing pencil on paper. The next step is building models to finetune the designs.

Passion, hand, heart and mind combined.

Good design sets trends, trends set interchangeable designs. I strongly believe in the uniqueness, having your own visual language as a designer.

The material is a vital part of the design as I like working with natural materials, honouring their natural beauty. This is one of the reasons why I work with natural hardwood and not with manufactured materials. Knowing the materials well, allows me to design pieces where design and material complement each other, creating timeless and durable pieces.

For future projects I am looking forward to working with other enthusiastic craftspeople who are, like me, pushing the boundaries of their crafts regarding design and the techniques of their craft. I see a new generation of craftspeople emerging with great admiration for the traditions as well as with new innovative ideas. I believe in the strength of putting creative ideas together when the design partners come from very different angles.

I just built. First, I taught myself carpentry as I believe that only if you know the material and how to work it, such as the techniques, you understand what is possible. My first pieces centred very much around the natural beauty of the material. Over time I found my unique visual language of combining this natural beauty of the material with timeless sculptural shapes.

One of my favourite places is the Altmark region along the river Elbe in Germany, a very green and peaceful place. I like to get inspired by nature, by its beauty and its constant changes and new perspectives. Nature allows me to recentre my thoughts and to refill my batteries. This region will also be the place where we start a new chapter of our company story, we will open our first showroom later in the year featuring our designs and the work of other innovative craftspeople.

Being a designer does not come with quick successes, good designs take time. Being able to not give up throughout the process of designing very special pieces, not to cut corners and settle for something less than what makes you proud and to draw from the delayed gratification that awaits at the end of it can be so rewarding. This feeling is the best motivation.

It might not have been obvious when I was a child but looking back, I do not think there was a better choice for me. I have always been a dreamer, visualizing in my head, doodling, making little objects and imagining stories around them. I see designing as the combination of all these, dreaming up designs, drawing the initial sketches and building models.

As with some of the best furniture designers in the world, such as Joseph Walsh, Sam Maloof and James Krenow, I came in at a different angle as I never studied design. Like the aforementioned, I found my unique visual language by building until I discovered designs that were uniquely different from other furniture out there whilst having a common theme between them.

We started with a small design workshop in Luxembourg and an office in London. Our plans for 2020 are big. We are opening our own showroom with other featured craftspeople in historic premises dating back to the 14th century.

Beauty meets function.

I enjoy designing pieces that are sculptural yet timeless, that are becoming part of the owner's life. An important aspect of the design is also the craftsmanship of the finished piece. For me, standout design and superb craftsmanship need to go hand in hand.

One of my favourite designs is the Sculptura dining table as for me this was the breakthrough in finding my personal visual language. I am also working on some exciting new designs.

I designed a coffee table for an analogue music recording studio in Germany. It was important to capture the tradition and romance of analogue recording in the design.

My favourite material will always be high-quality hardwood. Timeless and classic.

I usually design, pencil to paper, early in the morning. Long before the pencil touches the paper, I visualize my designs in my head, when sightseeing or on walks in nature.

I always first think about how the design will look in its surroundings. My vision is for my designs to be lived with, to fulfil their function and to stand proud amongst other objects of beauty.

This is very difficult to describe. It seems like the design ideas just come in my head like flashes of images.

Designs often go through various alterations until you get to the version that just works and no further alterations could make it better. When I can see my designs realized I feel a sense of achievement.

A design is successful when it stirs emotions, when it is possible to make and when it simply works as a piece of furniture.

For me, it is important to create timeless pieces of furniture, that become family heirloom. Family is the most important unit of society as it shapes us to who we are. I want my pieces of furniture to live with families across generations. This also benefits the environment as these pieces do not end up filling up landfills.

New designs will come and go, but great designs will stay. I strongly believe that designers must be responsible for the longevity of their designs, that are not just following short-lived trends or need upgrading.

As I truly believe in making unique pieces of furniture, I try not to be inspired by new styles of furniture or trends. I do, however, like to be inspired by nature and modern art sculptures. I design sculptural pieces with great respect to the natural material, such as high-quality hardwood. This is also the reason why I do not use pre-fabricated pieces of laminated wood for my designs. The material and the craft become an integral part of the design.

I would describe it as English modern style, very distinctly different and sculpturally contemporary.

The design process starts in my head, visualizing shapes and forms interacting with their surroundings. A very important part of this visualization is thinking of the use, of a specific surrounding for the design. Once I “dream up” a design that is both sitting proudly in its intended space and is unique and surprising, I start drawing pencil on paper. The next step is building models to finetune the designs.

My Bialetti Venus espresso maker, my watch collection, my vintage hand planes including one that had belonged to my grandad, a dining table I built myself and an heirloom chair handed down from my wife’s great grandparents.

Come in with a fresh view. Build and make until you find what works and identify your own style. Do not become influenced by trends.

There is always the worry if I will be able to come up with another great design. The positive aspect is the feeling of excitement when I spent many hours building a model, finish it, stand back and it just works.

Function, form, and beauty combined, realised at the highest quality craftsmanship.

Be a dreamer, dream up what has not been created before.

I work all analogue, pencil on paper and building scale-size models out of wood using woodworking hand tools.

It can take from a month to several months. Sometimes I come back much later to rework what has not worked in the past.

Being recognised on the world stage through awards and competitions. As a self-trained designer getting positive feedback from experts very early in my design career was such a great and encouraging experience.

I am working on some big plans including opening our own showrooms, launching an online magazine and working on some big collaborations with experts of other crafts.

I am currently working on a big collection of hand-sculpted gallery pieces.

We are always open to new ideas. Just call.