Interviste con Tom Man

Inspired by philosopher Soetsu Yanagi's book "The Beauty of Everyday Things" (2019), my design ethos revolves around redefining our relationship with everyday objects. Yanagi's philosophy emphasizes care, longevity, and appreciation for our belongings, which deeply resonates with my approach. Motivated by this vision, my design series aims to elevate the humble wooden stool into an object of enduring beauty and significance. Through meticulous craftsmanship and thoughtful design, each piece in the series embodies Yanagi's belief that everyday possessions should evoke feelings of respect and affection. By embracing simplicity and elegance, my work invites users to rediscover the inherent beauty in the simplest of objects, fostering a deeper appreciation for the tangible aspects of our surroundings.

My main focus in designing this work was to provide a tangible response to the question, "Why do I design?" It was an honest journey seeking clarity on this inquiry. Additionally, I aimed to create an inherent appeal, something that would compel people to touch and connect with the design on a deeper level.

Actually, it's already in motion as we are beginning to manufacture all three variants in different types of wood. On one hand, we are actively pursuing retailers to showcase and distribute the designs. On the other hand, we're leveraging the success of these designs to inspire and develop new variations and concepts.

Around a year.

Currently, we manufacture this design in-house as a studio product. However, we remain open to various opportunities and are prepared to collaborate with partners who align with our values and vision.

The target customers for my design are individuals who appreciate craftsmanship, simplicity, and the beauty of everyday objects. It appeals to those who value thoughtful design that enhances their living spaces with both aesthetic appeal and functional integrity.

The name "Daejo" means "Contrast" in Korean. It was chosen because contrast was a fundamental element that unified all aspects of the stools in this design series.

The most unique aspect of my design lies in its use of contrasting elements, which I believe accentuate its beauty. Combining soft shapes with sharp lines, employing hard and durable materials alongside gentle movements, these contrasts create a dynamic and visually compelling experience.

No, my design process wasn't influenced by data or analytical research. Instead, I immersed myself in old-fashioned research, delving into philosophy books that explore concepts of emotional design and neuroaesthetics. This approach guided my exploration and development of the design.

The creative challenge of the Daejo project was finding the delicate balance between traditional craftsmanship and modern design aesthetics. This required seamlessly blending centuries-old woodworking techniques with advanced CNC technology, demanding meticulous attention to detail and numerous iterations through prototyping.

I hadn't initially planned to submit Daejo to another design award, feeling satisfied with previous recognition from a different platform. However, my perspective changed when I received a personal invitation that deeply resonated with me, prompting me to reconsider and ultimately decide to participate in the international design competition.

My journey into design began with a profound interest in creation and craftsmanship from an early age. Influenced by my grandfather, whose meticulous craftsmanship fascinated me, I spent countless hours exploring tools and materials, laying a foundation for my future in design.

Formally, I pursued a Bachelor of Design in Industrial Design at Shenkar University, where I delved deep into the intricacies of design processes and honed my skills in bringing ideas to life. This educational experience provided me with a robust framework to understand design principles, aesthetics, and the significance of functional and emotional elements in creating impactful designs.

Throughout my career, I've had the privilege to work on diverse projects spanning furniture design, interior design, and tableware, each contributing to my growth as a designer. My approach is deeply rooted in the belief that design should not only be aesthetically pleasing but also imbued with meaning and functionality, enriching the lives of its users.

What motivates me to design is the opportunity to create meaningful experiences through creativity. From a young age, I've been drawn to the process of crafting and shaping ideas into tangible forms that can positively impact people's lives. This passion for innovation and the desire to blend aesthetics with functionality led me naturally into the field of design. Becoming a designer was a choice driven by my innate curiosity, coupled with a deep-seated belief in the transformative power of well-executed design.

Becoming a designer was entirely my choice. I have never been pushed to do something I didn't want to do. Design naturally called to me, and I felt that I could realize my potential within this field. Now, I can confidently say that being a designer is a tremendous privilege.

"I wouldn't consider myself a design legend, but for aspiring young designers, I would recommend staying humble and curious. Dive deep into the beautiful world of design, continuously learn and explore. Hard work and consistency are key in this demanding yet rewarding discipline. Embrace the challenges and frustrations that come with the creative process, as they often lead to growth and innovation. Above all, maintain a passion for creating meaningful experiences through design."

The distinction between a good designer and a great designer likely lies in the ability to justify specific design decisions. Since I perceive every line and shape as an emotional element within the design, I believe that a good designer and good design need to be well-reasoned. This awareness shows that a designer is conscious of their choices. In my opinion, the higher the level of awareness, the better the designer. It all comes down to the details.

This is a philosophical question that could be discussed at length. However, from my perspective, I evaluate a good design based on several criteria: its ability to intrigue and innovate, the presence of a compelling story, and its precision and attention to detail.

"I must mention that I deeply admire Alex Padwa, who was also my professor. I find him to be one of the most intriguing designers I've encountered, driven by a passion that truly motivates and inspires me in my career."

One of them is definitely the engagement ring I designed for my wife, Maya. It was a deeply personal project that I approached with great seriousness. I tried to think about what makes her unique and how she would approach it, and that's the brief I set for myself: to design a ring as if she were designing it for herself. I delved into extensive research on diamonds and settings, and collaborated with amazing professionals throughout the process. While she received it with a "slight delay" after the wedding, I believe it was worth it.

To become better designers, it's crucial to be consistent and persistent. However, it's equally important to take a moment to step back and gain a new perspective on a project, and then dive back in with fresh insights. Paying close attention to the small details is essential, as these are what make the difference and convey that every dimension of the project has been thoughtfully considered.

If I hadn’t become a designer, I likely would have pursued something related to either art or culinary arts.

Since my studies, particularly in Philosophy, I've pursued the question of what "Design" truly means. During my exploration of various definitions, I encountered numerous perspectives and efforts to define it effectively. Several definitions have resonated with me and continue to influence my understanding of design.

One such definition is from Collingwood, who argued that design is “the power to produce a preconceived result by means of consciously controlled and directed action.” Another influential perspective comes from Heskett, who stated: “…design, stripped to its essence, can be defined as the human capacity to shape and make our environment in ways without precedent in nature, to serve our needs and give meaning to our lives.”

For me, design is a conscious act that needs to be explained and embody meaning that goes beyond the material. It is about creating intentional, meaningful experiences that serve our needs and enrich our lives.

My studies in aesthetics have provided me with an entirely new language and understanding of design that I was previously unaware of. I owe a great deal of this knowledge to my professor, Professor Michalle Gal, who equipped me with the tools to delve deeper into complex ideas within design and to approach my work more consciously. This education has led me to grapple with challenging questions regarding the functional and emotional roles of objects in our lives, questions that I strive to answer through tangible design.

One of the design projects that brought me the most satisfaction was the creation of the Pebble coasters. This was the first product we introduced to the external market. The Pebble coasters embody a story about the aspiration to pause and create moments of reflection in our daily, often overlooked actions. We did not compromise on any detail in the design, even though we knew the usage was not entirely standard (placing a glass on a coaster that is not flat for the most part). We were thrilled to discover that people connected with the story, appreciated the meticulous attention to detail, and valued the high quality of the product. The satisfaction came from knowing that we created an object that encourages thought and offers a slightly different experience from everyday routines.

I would love to see the design industry shift back to the value that objects once held. This means creating high-quality items that are built to last. I hope to see a greater appreciation for thoughtfully designed objects, where people consider, choose, and connect with items that can be cherished and passed down to future generations. This focus on durability and emotional connection would bring about a more sustainable and meaningful approach to design.

The timeline for designing an object varies widely and depends on numerous factors. It's important to note that in design, the process never truly concludes; rather, it's the allotted time for design that comes to an end. While I can immerse myself endlessly in refining details, practical considerations like client deadlines and manufacturing schedules are pivotal.

As I mentioned earlier, color, materials, and ambient are considered emotional elements of design, echoing Roger Fry's perspective. To add to that, lines and shapes also play a crucial role in the design's inner rhythm and overall composition before color and material choices come into play. All these elements are utilized by the designer to craft an emotional experience within the design, influencing how people interact with and perceive the objects around them.

Collingwood, R. G. The Principles of Art. Oxford: Oxford University Press, 1958.

Danto, Arthur. “The Artworld”, The Journal of Philosophy, Vol. 61, No. 19, American

Philosophical Association Eastern Division Sixty-First Annual Meeting, 1964.

Danto, Arthur. What Art Is?. Yale: Yale University Press, 2013.

Forsey, Jane. The Aesthetics of Design. New York: Oxford University Press, 2013.

Fry, Roger. Vision and Design. London: Chatto & Windus, 1920.

Heskett, John. Toothpicks and Logos: Design in Everyday life. Oxford: Oxford University

Press, 2002.

I don't feel famous. One of the things I love about design is that most objects speak for themselves. Sometimes people take interest in understanding the person behind the design, but I don't have the ability to be present with all my designs wherever they may be. Therefore, I prefer that the objects I design be famous, not me.

"As a child growing up on the outskirts, I'm not sure that I or anyone in my family really knew much about the profession called 'designer.' However, they definitely noticed my passion for building and drawing, and as a child, it always caught their attention. They enrolled me in classes for drawing, painting, and sculpture. In truth, they probably thought I would become an artist."

From an early age, I was deeply engaged in building and creating. I spent countless hours playing with tools and materials, often assisting my grandfather, who I admired for his incredible craftsmanship. He had what I perceived as "golden hands," and working alongside him instilled in me a love for the process of bringing ideas to life.

As I grew older, my passion for design and invention evolved into a realization that these skills could have a meaningful impact on people's lives. I strongly believe that well-crafted design can enhance happiness and add significant value to our daily experiences. This conviction motivated me to pursue a Bachelor of Design in Industrial Design at Shenkar University.

Industrial design felt like the ideal path to merge my creative instincts with my desire to make a positive difference in the world. My studies have provided me with a deep understanding of the design process and how it can address real-world challenges.

In essence, my early experiences of building and creating, combined with a desire to positively impact others, led me to a career in industrial design. I am grateful for the opportunities and experiences that have come my way, and they continue to inspire my work every day.

Tomaya was established by myself and my wife, Maya, whom I met during our studies. As we began working together on projects, we realized there was something special about our connection and its potential and started to pursue it.

At Tomaya, we view design as more than just aesthetics; it’s about crafting companions for everyday life. Our aim is to create objects that are not only beautiful but also resonate deeply with the human experience. We believe in the bond between people and the things they use, striving to reflect this connection in our designs. It’s about the intrinsic relationship between humans, objects, and the genuine emotions they represent—a philosophy that is simple yet profound, shaping everything we do and transforming ordinary items into extraordinary experiences.

True innovation, in our view, emerges when design integrates seamlessly with materials and technology. Each piece we create undergoes a meticulous process, exploring the interplay between design elements and modern production methods. This ensures that our results are not only visually striking but also practical and durable. We collaborate closely with top-tier manufacturers to craft every piece with excellence in mind, from concept to creation, delivering designs that inspire and enrich everyday experiences.

Since my studies, particularly in Philosophy, I've pursued the question of what "Design" truly means. During my exploration of various definitions, I encountered numerous perspectives and efforts to define it effectively. Several definitions have resonated with me and continue to influence my understanding of design.

One such definition is from Collingwood, who argued that design is “the power to produce a preconceived result by means of consciously controlled and directed action.” Another influential perspective comes from Heskett, who stated: “…design, stripped to its essence, can be defined as the human capacity to shape and make our environment in ways without precedent in nature, to serve our needs and give meaning to our lives.”

For me, design is a conscious act that needs to be explained and embody meaning that goes beyond the material. It is about creating intentional, meaningful experiences that serve our needs and enrich our lives.

At our studio, we have a particular passion for designing furniture and objects that align with our ethos. We aim to redefine the relationship people have with the items they use daily. Our focus is on creating human-centered designs that not only serve functional purposes but also enhance the emotional connection between individuals and their surroundings. We enjoy developing such projects in-house and collaborating with clients who appreciate and understand this perspective.

One project that I am particularly proud and connected to is the one that earned me the A' Design Award - "Daejo." This project didn't begin with the design of stools but rather with a simple yet profound question: Why do I design? This seemingly straightforward question led me on a deep personal journey, both introspective and through various texts, in search of an honest answer.

Such a personal project was challenging because there was no client to provide a design brief or feedback. This absolute freedom brought with it many challenges, such as determining what object would best reflect and embody the ideas I wanted to express. I had to establish boundaries for myself and make decisive choices. Despite these difficulties, I found the project incredibly fulfilling. It allowed me to delve into my innermost motivations as a designer and express them in a tangible form. "Daejo" is a testament to the importance of introspection and personal expression in the design process.

The first commercial project we designed was the Pebble coasters for Prat: living. The initial brief was straightforward: create a coaster to protect table top surfaces with an oil finish from water marks.

As we delved into the design process, we aimed to transform the coaster into something more than just a functional item. We envisioned Pebble as an object that would not only serve its purpose but also be seen and appreciated for its aesthetic value. The subtle variations in wood tone and grain ensure that even when not in use, these coasters enhance the living space rather than being hidden away. Pebble's curved form draws natural focus, making every placement a notable moment, and its gentle curve guides the glass to its perfect spot.

For me, creativity often strikes when I step away from the studio environment. During my studies, a professor once encouraged me to "look under the table" or "transform an object and view it from a different angle," urging me to seek new perspectives. Taking this advice to heart, I find that stepping out, perhaps enjoying a nice coffee, allows my mind to wander and ideas to percolate. These moments of pause and reflection outside the typical workspace often spark innovative thoughts and fresh approaches to my design process.

Designing evokes a wide spectrum of emotions for me, driven by my deep passion for the craft. This passion fuels my creativity and commitment to each project, but it also means that I can experience moments of frustration when encountering challenges or seeking the suitable solution. However, I believe that these emotions are integral to the creative process, pushing me to explore new ideas and refine my designs until they truly resonate with their intended purpose.

When my designs come to life, I experience a sense of relief and fulfillment. It's akin to releasing something I've nurtured into the world, where it takes on a life of its own. This transition from concept to reality brings a mix of emotions - pride in seeing my vision materialize, coupled with a sense of detachment as the design begins its journey in the world, impacting and resonating with others in ways beyond my control.

The success of a design, in my view, transcends mere aesthetics. It hinges on the ability to embody a preconceived meaning. Design, to me, is akin to a communication tool. Objects, as mute entities, require designers to imbue them with thoughtful concepts and emotional elements. This approach not only enhances their functionality but also enriches their resonance with users, making them truly impactful in people's lives.

From my perspective, the responsibilities of a designer extend beyond mere aesthetics; they encompass a profound commitment to society and the environment. A cornerstone of my approach is the "build to last" philosophy, which emphasizes creating designs that endure through time, both in terms of durability and relevance. This mindset ensures that every object is crafted with meticulous attention to quality and detail, aiming to minimize waste and promote sustainability.

Additionally, I believe in treating each design with affection, recognizing that every object carries with it a responsibility to enhance people's lives and respect the natural world. This perspective encourages thoughtful consideration of materials, production processes, and the lifecycle of products, striving to minimize environmental impact while maximizing utility and beauty.

For me, inspiration for my designs springs from a commitment to exploration. I've found that my creativity flourishes when I actively engage in both physical and mental wandering. Physically, I enjoy taking strolls through various neighborhoods, attuned to discovering overlooked details that inspire fresh perspectives. Simultaneously, I indulge in digital and mental wandering by following diverse individuals and pages on social media. These sources, spanning photographers' captivating portfolios to thought-provoking quotes, continually provoke my thoughts. Surprisingly, these experiences consistently converge to enrich and shape my design approach.

Our collaboration with companies primarily revolves around contract projects, often focusing on developing collections. However, we remain highly receptive to diverse collaboration opportunities, particularly those accompanied by intriguing briefs that resonate with us creatively and conceptually. We believe in fostering partnerships that not only showcase our design expertise but also align closely with our vision and values. This approach allows us to explore new avenues of innovation and craftsmanship, ensuring each collaboration yields meaningful and impactful results.

My design process is a dynamic journey that revolves around expanding my repository of both physical and conceptual inspirations and integrating them seamlessly into the creative workflow. Each project demands a tailored approach to research, whether it unfolds in the tangible world or within virtual realms. However, if I were to distill a consistent methodology, sketching emerges as a pivotal early-stage activity. Sketches serve as my canvas for swiftly exploring and evaluating diverse ideas and concepts. As these ideas materialize, I delve into refining and comparing various configurations to ascertain optimal solutions.

1. The Panton Chair by Verner Panton (Vitra) - This design icon symbolizes innovation and comfort, making it a timeless piece in my collection.

2. Bella Rifatta Chair by Sawaya & Moroni - Discovered at a flea market, this chair awaited recognition before finding its loving place in our home.

3. Prouvé Standard Chair - Known for its functional elegance and timeless design, it adds a classic touch to our living space.

4. Handcrafted espresso cups by a local ceramist in Israel - These cups are not only beautifully crafted but also perfect in their silhouette, weight, and feel, enhancing the coffee-drinking experience.

5. Handmade horse swing for our baby daughter - A heartfelt gift from dear friends, purchased from a retired artisan who crafts these swings with care and attention to detail in her small workshop.

In reflecting on my journey, this question has been a constant companion, and my answer has evolved little despite the changes I've undergone. Fundamentally, I believe an industrial designer must embody curiosity and resilience. While the world undergoes rapid transformation, the core principles remain steadfast. It's crucial to acknowledge and adapt to these changes while holding onto the essential questions that define our craft. The field demands perseverance, and every designer acquainted with this understands its rigor.

For aspiring designers, I advocate for cultivating a robust understanding of design fundamentals and techniques. Stay abreast of emerging trends and technologies while maintaining a thirst for continuous learning and adaptation. Sharpen problem-solving abilities and refine communication skills, as these are indispensable in navigating the complexities of design. Networking within the industry is invaluable for uncovering opportunities and gaining invaluable insights. Above all, nurture an enduring curiosity and unwavering determination in pursuing your passions and ambitions as a designer.

The timeline for designing an object varies widely and depends on numerous factors. It's important to note that in design, the process never truly concludes; rather, it's the allotted time for design that comes to an end. While I can immerse myself endlessly in refining details, practical considerations like client deadlines and manufacturing schedules are pivotal.

As Tomaya Studio, our current focus is on expanding our private collections of objects and broadening our presence by collaborating with retailers internationally. We are eagerly anticipating potential partnerships with esteemed companies such as Vitra, Muuto, and Hay, with whom we share a deep appreciation and belief in the potential for exciting collaborations.

You can easily reach me or our studio through various platforms. For more casual interactions and to explore our latest projects, you can find us on Instagram at @tomaya.studio. For formal inquiries or collaborations, we're diligent about checking our email inbox daily at hello@tomaya.studio. We strive to maintain open communication and look forward to connecting with you.