Three Layer Cake

Reddish Studio:  Design with Character

From a very early age, Idan cultivated his artistic interests in sculpture and painting.  As he moved to high school, he became more scientifically grounded.  His decision to combine art with industrial design matured during his military service. He felt that with sculpture and painting, the total lack of boundary for him was less interesting to confront.  He noted that ironically, the limitations presented by industrial design and the design of products to certain specifications render you freer than if you had no boundaries at all.  Reflecting on his development path, he added, “Actually, I came across something that I wrote at age 13.  I wrote that I wanted to be an industrial designer.  I don’t know if I even knew what one was.”

Naama on the other hand came from an artistic family, but did not get into artistic design until after her military service.  She went to university with a very clear idea of what she thought was architecture, but after the department’s presentation, found that the discipline did not at all correspond to the image she had in her head. After adding her creative side to her background in science, she dropped in to the Industrial Design department, and found that it indeed matched her concept.  Despite her artistic inclination, the learning curve was steep.  “I only had potential.  I learned so much,” she said.

Together, Naama and Idan formed Reddish Studio in 2002, a design consultancy which produces a range of products from furniture to home accessories to jewelry.  Their Prima Ballerina side table (right) and Yakuza digitally ‘tattooed’ wood coffee table were nominated for the interior innovation award at imm Cologne 2006.  Yakuza won first prize.  They were also chosen by AIDA and the Victoria &Albert museum to exhibit their Grenadine jewelry collection at Collect 06 contemporary objects fair.

Their witty, almost ironic, approach to design depends on each individual object.  Idan defines Reddish designs as ‘ubiquitous’ in that the influence for what they design comes from all over.  In another perspective, they are ubiquitous because they would seamlessly fit into just about any interior, often using wood veneers and incorporating interesting twists on traditional design concepts.  In the design process, they think about cultural identity and practicality, whether end users will enjoy the final product, and if living creatures can interact with it. 

Naama adds, “We try to give character to our objects, make them feel better about themselves. We hope people will have a personal connection with them. Maybe that way they won’t get rid of it as easily as they do with a lot of other things they consume.”  When it comes to the design process, both agree that the genesis of their ideas is untraceable.  For example, with the Yakuza table, both agreed that it would be impossible to attribute its origin to either Idan or Naama.  Through their brainstorming sessions together, they pull out their ideas and the process is so long and their thoughts so very connected that at the end of the day, their designs are an equally produced effort.

 Their product portfolio is a mix of client driven requests and Reddish initiated ideas.  In accepting projects they try to combine their own design interests as much as possible with client interests in order that their work stays enjoyable.  Still, says Idan, “Sometimes you go beyond thinking about whether someone will buy it. You want people to experience your ideas. “

For anyone interested in Israeli design, Idan explains that the design scene in Israel can be defined as “promising”, with a lot of interest and talent, but very little production.  He points out that Israel is a multicultural population but does not have a rich design history nor does it have a traditional craft and hence no distinguished “Israeli design school” yet.  Abroad, Reddish has already shown that its process innovation and innovative interpretations of products are fresh new ideas worthy of attention.  Although they claim to still be finding their own style, their product portfolio is solid and consistently good.  Reddish is going places.

Reddish Studio design philosophy:  What you want each person who sees/purchases one of your creations to know about you, the story they will tell to their friends who see the object?  In a way, we see the works as children. There is a long effort in making them and finding them the best environment possible. And it’s a manic-enjoyment when they are out there. We hope people will treat them well. They should know we care.

Your Yakuza table at imm (d3) design talent competition stood out from the other products in competition for quite a few reasons.  In fact you received 1^st prize in the interior innovation award for it.  What’s the genesis of the idea?

The inspiration for the Yakuza table began with the technology. We came across this amazing (and quite new) technology. We thought it would be interesting to create a blend of graphic design between a natural texture of wood and our own design. We used this technology to print delicate and transparent printings into wood. The immediate association for this idea was tattoos.  The Yakuza (Japanese mafia) have the deepest roots and most interesting content in this matter. There are really good stories behind the elements they use.  We often try to give character to the objects we design. We believe that the Yakuza is not a Japanese design for a table, but a table with a strong presence. 

Which of your accomplishments has brought you the most satisfaction?  The fact that we manage to keep ourselves occupied with something we love doing is very satisfying.  We are also satisfied when we think about some shitty projects that we chose not to do.

Which strengths does each of you bring to Reddish Studio?
Naama: We are usually attracted to the same results but we are coming toward them from two different directions. Idan's roots are from art and he is a good story teller, mine are less romantic.  The one thing that is true no matter what kind of project we are working on, is that it will not be finished unless we are both pleased with the outcome.  We are working together, talking a lot about our thoughts and giving harsh criticism to each other. It is very liberating to say: “This is ugly”. 

Any designers or mentors who have shaped you/your ideas?
Naama: We shape ourselves and each other, and it is not an easy task.

Idan: We had some very good teachers and I appreciate many designers, but there is no one I could consider as a mentor. It’s not them, it’s me. I’m not really a mentor person.

What are you working on now?  What would you like to work on?  What’s next?  We just came back from London where we presented the Grenadine jewelry collection in the Collect exhibition at the V&A Museum.  Now we will keep on working on this collection and on the Yakuza and the Prima Ballerina that were at the "inspired by cologne".  We would love to team up with producers in order to take a step further with some of our projects.  And generally, we would like to continue to explore new ideas.

Best city for design vibes?
Naama: it is hard to choose just one. As lond as I am traveling I have good design vibes. New atmospheres always revive me. Mmmmm.....Berlin! 

Idan: never been there, but I feel Hong Kong is sending me some good vibes.

Since its creation in 2002, Reddish has been to Felissimo design house in New York,  Milan’s Salone del Mobile, Berlin's DesignMai, Cologne’s imm, V&A collect 06 and more.

More About Idan and Naama on the next page...