Oliver David Krieg

Professional in Furniture Design.

About Oliver David Krieg

Oliver David Krieg is an expert in computational design and digital fabrication in architecture. As Director of Technology at LWPAC in Vancouver, Canada, and doctoral candidate at the Institute for Computational Design and Construction at the University of Stuttgart, Germany, his work aims to enable reciprocities between design, technology and materiality in order to reconceptualize how architecture can be designed, fabricated, and constructed. His projects are characterized by an integrative approach engineering, material science, sustainability, building physics, and manufacturing.

  • Winner of Furniture Design Award.
  • Specialized in Furniture Design.
  • Original Design.
  • Creative, Diligent and Innovative.
  • All Designs
  • Furniture
Aestus Vase

Aestus Vase

Furniture Design


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Interview with Oliver David Krieg

Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
As an architect, designer and PhD researcher I have engaged with both wood and digital technologies for almost ten years. I have always been fascinated by the relationship between the scientific, almost purely mathematical approach of robotic fabrication, and the aesthetics of the material that is directly affected by this process. In my opinion, the tension between the digital and physical - the method and the result - is most prevalent in wood. The richness and visual detail of a wooden surface stands in contrast to the clean manufacturing process, and yet they depend on each other. While I was conducting research about architectural potentials of robotic fabrication at the Institute for Computational Design and Construction at the University of Stuttgart, I couldn't help but notice the aesthetic potentials of this captivating relationship. AESTUS became a passion project that I was only recently able to develop into a finished product.
Can you tell us more about your company / design studio?
odk.design was founded as a platform to explore the relationship between technology and material, and to explore the forces of formation in robotic fabrication.
What is "design" for you?
Design is the negotiation between form, function and material. Within this, the process of making is directly related to all of them, and as such, engages heavily with the human aspect. Design is always the result of the available tools, which is why technology is so intriguing to me.
What kinds of works do you like designing most?
I like designing surfaces and shapes that can express both their materiality and the fabrication process. Although AESTUS is a series of vases, the process can also be applied on many different shapes such as columns, chairs, or wall panels.
What is your most favorite design, could you please tell more about it?
My most favorite design is one that is true to its material, simple in its expression, and yet shows a high degree of sophistication in how it was made.
What is your favorite material / platform / technology?
I enjoy working with wood products, and I enjoy working with digital manufacturing such as industrial robots and CNC machines.
When do you feel the most creative?
I feel most creative when working in a quiet environment or when I can discuss design with friends.
Which aspects of a design do you focus more during designing?
I focus on how a design can be made, and how the material can be expressed.
What kind of emotions do you feel when your designs are realized?
Seeing your designs realized is the most humbling yet elevating experience. I work a lot in 3D CAD and therefore can see the designs long before they are fabricated. Yet, experiencing the design in real life is always so much more impressive.
What makes a design successful?
A design is successful if people can use it without thinking about it. It is successful when people engage with it, appreciate its materiality and like looking at it or touching it.
From your point of view, what are the responsibilities of a designer for society and environment?
A design should appreciate its material and the process of making. It is the designer's responsibility to be truthful about the materials they are using, and the process involved in fabrication. Society needs to understand how wasteful certain materials and processes can be, and that good design can be resourceful yet beautiful.
How do you think the "design field" is evolving? What is the future of design?
Technology is changing the way we think, design and make. Craft is redefined to include digital processes. The future of design will engage with technology and use it as a tool just like the chisel or screw driver have become the tools of masters.
When was your last exhibition and where was it? And when do you want to hold your next exhibition?
My last exhibition was at the Toronto Interior Design Show in January 2019.
Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
Natural materials and digital fabrication give me endless inspiration as their possibilities are endless, too.
How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
My design style is dynamic and intricate, yet simple and calm. I try to show layers of complexity that benefit from each other, while always focusing on the expression of the material. I engage with complexity in the fabrication process in order to achieve simple yet intriguing designs.
Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
I'm from Germany but I live and work in Vancouver. Being close to nature but also living in a city is the balance I need.
Can you talk a little about your design process?
During the development the robot's movement became one of the main design tools as it directly influences the shape of each groove. Parametric software and digital simulation tools were specifically developed to explore the design possibilities and seamlessly integrate the robotic fabrication, while prototypes were manufactured to precisely understand the constraints of the robot and to achieve a continuously high quality.
Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
Design is all about making. Engage with prototyping as soon as possible in order to understand the constraints and possibilities.
Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
I am using McNeel Rhinoceros and the programming plugin Grasshopper. The design is manufactured using a 7-axis industry robot setup.
How long does it take to design an object from beginning to end?
It took me about a year from conception to final prototype. AESTUS was finished in mid 2018.
Do you work as a team, or do you develop your designs yourself?
I work on my designs by myself but I'm open for collaborations.

Extended Interview with Oliver David Krieg

Could you please tell us a bit about your design background and education?
As an architect, designer and PhD researcher I have engaged with both wood and digital technologies for almost ten years. I have always been fascinated by the relationship between the scientific, almost purely mathematical approach of robotic fabrication, and the aesthetics of the material that is directly affected by this process. In my opinion, the tension between the digital and physical - the method and the result - is most prevalent in wood. The richness and visual detail of a wooden surface stands in contrast to the clean manufacturing process, and yet they depend on each other. While I was conducting research about architectural potentials of robotic fabrication at the Institute for Computational Design and Construction at the University of Stuttgart, I couldn't help but notice the aesthetic potentials of this captivating relationship. AESTUS became a passion project that I was only recently able to develop into a finished product.
What motivates you to design in general, why did you become a designer?
odk.design was founded as a platform to explore the relationship between technology and material, and to explore the forces of formation in robotic fabrication.
Did you choose to become a designer, or you were forced to become one?
I chose to become one in order to explore the relationship between material and machine indepth.
What do you design, what type of designs do you wish to design more of?
In the broadest description, I design surfaces that are defined by their material and the process of making.
What makes a good design a really good design, how do you evaluate good design?
Good design is one that is true to its material, simple in its expression, and yet shows a high degree of sophistication in how it was made. A design is successful if people can use it without thinking about it. It is successful when people engage with it, appreciate its materiality and like looking at it or touching it.
What is the value of good design? Why should everyone invest in good design?
There can be many values: The appreciation for the material, sustainable materials or fabrication processes, durability and resiliency.
Who are some other design masters and legends you get inspired from?
I draw inspiration from many other designers who engage with material and form in similar ways.
Where do you think the design field is headed next?
Technology is changing the way we think, design and make. Craft is redefined to include digital processes. The future of design will engage with technology and use it as a tool just like the chisel or screw driver have become the tools of masters.

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