Finn Magee, portrait, © Luke Hayes Flat Light at the Design Museum, 2007 © Luke Hayes Flat Light at the Design Museum, 2007 © Luke Hayes Flat Light at the Design Museum, 2007 © Luke Hayes |
Finn MageeProduct DesignerDesigners in Residence – Design Museum Exhibition 12 September – 14 October 2007 Finn Magee’s work addresses the impact of advertising on the public space. With a background in Industrial Design his ‘ad-objects’ are both commercial and critical. He uses advertising techniques such as surprise, juxtaposition and humour, subverting them to sell a message of dissent. Magee’s Flat Life project was the result of setting up an Anglepoise task light on his desk at home. Amazed at how it lent an atmosphere of productivity and efficiency to the room, Magee wondered if just an image of the light would be enough to re-create this atmosphere. “I wanted to see if the image could also be made to function as a light. From there it was a matter of figuring out how to combine object and image.” The result is simple and highly effective. The Flat Life installation created for the Design Museum’s entrance foyer continues the theme of playing with viewers’ assumptions. The work occupies the space between image and object, prompting visitors to question where the advertisement ends and the product begins. Finn Magee graduated from the National College of Art and Design, Ireland in 2004 with a BA in Industrial Design. He then completed an MA in Design Products at the Royal College of Art in London. He has exhibited at Design Mai in Berlin and the Salone del Mobile in Milan and his Flat Life lights are currently in development with Artemide. © Design Museum Q. When did you first become aware of – and interested in – design? A. My dad is an engineer, so I grew up watching him jury-rig repairs to things around the house. This idea that you can improve, build or repair products around you is really exciting. That and realising that following the instructions in Lego was boring. Q. Where did you study? And why did you decide to study design? A. I studied at the National College of Art and Design, Dublin and the Royal College of Art in London. What drew me to design as opposed to architecture or graphics was its’ scale and tangibility. It was possible to see results immediately, on a human scale. Q. What were your design objectives as a student? A. During the Design Products course I realised there were two parallel objectives; to develop my communications skills and on a personal level to figure out what it was I wanted to say with this voice. Q. How has your design education influenced your subsequent work as a designer? A The MA forced me to question everything I was doing; now any idea is automatically grilled against a set of criteria; context, meaning, intentions etc. Q. What other factors have influenced your approach to your work? A. New Labour Britain and the hypocrisies perpetuated in the media are fascinating. The bizarre parallel worlds of country at war and escapist, leisure-based economy feel like something from a George Orwell novel. I’ve learnt to keep my opinions on this in the background as people turn off when presented with overt criticism. It’s ironic that the best way to raise awareness of these issues is to appropriate advertising tactics of humour, surprise and juxtaposition. Q. Which of your earlier projects was most important in defining your work? A. We had a brief called Remote Control and instead of formally responding to this I ended up playing around and coming up with a more abstract idea, which took the form of a toy and video. I learnt to trust my ideas and that it’s possible to get messages across with subtlety. Q. What impact does living in London have on your work? A. London had made me much more aware of the public space, and the idea of competing for the public’s attention. The amount of CCTV cameras, Billboards and general infrastructural clutter is massive compared to Dublin. The Ad-Bench project was a direct response to this. Q. How have your objectives devolved since graduating? A. The objective is to keep developing projects, what has changed is that now there is no support structure, technical facilities or funding. Apparently design is problem solving so it looks like there a lot more designing to do. Q. Who or what inspires your work? A. I draw on everything; designers or artists I like, current affairs, the environment and day-to-day experience. Q. How important is the story behind the work? A. I try to make the work itself direct and entertaining, if there is more to it people can draw their own inferences. Q. Where do you see your work going in the future? A. I hope to continue treading a path between critical and commercial work. It’s really exciting to make something that can be mass-produced and to balance this with more independent questioning projects. Q. How did your design for the Designers in Residence develop? A. Quickly! FURTHER READING © Design Museum For more information on British design and architecture go to Design in Britain, the online archive run as a collaboration between the Design Museum and British Council, at designmuseum.org/designinbritain |
Basso & Brooke
BarberOsgerby
&made;
Alvar Aalto
Tomás Alonso
Aluminium
Anglepoise
Pascal Anson
Ron Arad
Archigram
Art and Craft Movement
Assa Ashuach
Solange Azagury - Partridge
Shin + Tomoko Azumi
Maarten Baas
Georg Baldele
Jonathan Barnbrook
Luis Barragán
Saul Bass
Mathias Bengtsson
Sebastian Bergne
Tim Berners-Lee
Flaminio Bertoni
Jurgen Bey
Biba
Derek Birdsall
Manolo Blahnik
Leopold + Rudolf Blaschka
Andrew Blauvelt
Penguin Books
Irma Boom
Tord Boontje
Ronan + Erwan Bouroullec
Marcel Breuer
Daniel Brown
Robert Brownjohn
Isambard Kingdom Brunel
R. Buckminster Fuller
Sam Buxton
Fernando + Humberto Campana
Matthew Carter
Achille Castiglioni
Hussein Chalayan
David Chipperfield
Wells Coates
Paul Cocksedge
Luigi Colani
Joe Colombo
Committee
Concorde
Terence Conran
Hilary Cottam
matali crasset
Michael Cross + Julie Mathias
Joshua Davis
Robin + Lucienne Day
Christian Dior
Tom Dixon
Doshi Levien
Christopher Dresser
Droog
Charles + Ray Eames
Ergonomics
Luis Eslava
Established and Sons
Industrial Facility
Alan Fletcher
Norman Foster
FUEL
Future Systems
John Galliano
Abram Games
Giles Gilbert Scott
Ernö Goldfinger
Graphic Thought Facility
Eileen Gray
Konstantin Grcic
The Guardian
Martí Guixé
Zaha Hadid
Stuart Haygarth
Ambrose Heal
Thomas Heatherwick
Simon Heijdens
Jamie Hewlett
James Irvine
Alec Issigonis
Jonathan Ive
Arne Jacobsen
Jaguar
Nadine Jarvis
James Jarvis
Experimental Jetset
Craig Johnston
Hella Jongerius
Louis Kahn
Kerr Noble
Jock Kinneir + Margaret Calvert
Onkar Singh Kular
Max Lamb
Julia Lohmann
Ross Lovegrove
Berthold Lubetkin
M/M
Finn Magee
Enzo Mari
Peter Marigold
Michael Marriott
The MARS Group
Aston Martin
J. Mays
Müller+Hess
Edward McKnight Kauffer
Alexander McQueen
Matthias Megyeri
David Mellor
Memphis
Mevis en Van Deursen
Reginald Mitchell
Maureen Mooren + Daniel van der Velden
Eelko Moorer
Jasper Morrison
Jean Muir
Khashayar Naimanan
Yugo Nakamura
Marc Newson
Isamu Noguchi
norm
Chris O'Shea
Foreign Office Architects
Verner Panton
James Paterson
Phyllis Pearsall
Charlotte Perriand
Frank Pick
Amit Pitaru
Plywood
Gio Ponti
Cedric Price
Jean Prouvé
Ernest Race
Dieter Rams
Charles Rennie Mackintosh
Rockstar Games
Richard Rogers
Stefan Sagmeister
Peter Saville
Jerszy Seymour
Percy Shaw
Hiroko Shiratori
Tim Simpson
Cameron Sinclair
Paul Smith
Alison + Peter Smithson
Ettore Sottsass
Constance Spry
Superstudio
Ed Swan
Richard Sweeney
Timorous Beasties
London Transport
Philip Treacy
Jop van Bennekom
Sarah van Gameren
Viable
Vivienne Westwood
Matthew Williamson
Robert Wilson
Ben Wilson
Philip Worthington
Frank Lloyd Wright
Michael Young
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