Bernhard Schwarzbauer [Austria]
Paolo Golinelli [Italy]
Matjaž Zorc [Slovenia]

Before we open up the question of identity in your work and design in general, why not introduce yourselves through your recent projects?
BS Presently I work part time at the Design department of “Ic!-Berlin” and on some of my own projects as well. I’m occupied with the further development and commercialization of my Streamer lounge chair at the moment. Streamer was successfully presented at the IMM Cologne 2007. What makes it special is its transformation from a two-dimensional material into a third dimension where the material generates the form by searching for the shortest line. The result of the shape depends on the self-stabilising stress of the material, and is controlled by the position of the fixing points. The form of the seat shell is the result of a series of spring steel streamers. The under-frame is used to fix the streamers and creates the ergonomic factors.
PG Recent projects include a bicycle saddle cover, a lamp and “Old Plast”. The bicycle saddle cover is a plastic shell that can be fixed below the rear part of the saddle to protect the saddle against the rain. The lamp was designed for a competition – to design a glass desk lamp whose light beam should be easily directed to different positions. This implied the presence of jointed elements, an aspect which is inconsistent with the common constructional features of glass. Here the glass base of the lamp is the element on which the illuminating body can rotate. And “Old Plast!” is a product for aging plastic materials and makes them retain their patina. The idea came from a question to myself – why can’t plastic, like wood, iron and other natural materials, afford to grow old and increase in value.
MZ In Slovenia there are few opportunities to work as an industrial designer – which is why I’m happy finding my own way in designing what I like. I’m currently working for an advertising agency, where design needs to have a certain story or a concept behind it – design can be just a part of that story. Even when designing projects for promotional purposes you need to re-think ways of using a certain object and then put it into the story of a particular client. This means you suddenly find your self designing almost everything – bags, boxes, bottles, promotional spaces, points of sale. It’s always the same challenge but a different solution, which for me is very challenging and exciting.

MP What does the term or idea of “identity” mean to you – a framework, or a guide in your work? Does it – explicitly or implicitly – inform your work-process and/or the final result?

MZ It’s a very tricky situation being recognized as different – or being recognized as one that constantly repeats himself. So identity can be both good and bad. If you think differently, open-mindedly, you’ll constantly evolve and make products with some clever twists but not necessarily with any recognizable style. On the other hand, by favouring certain forms or styles a designer can repeat himself more often than he should. I think the best – and most difficult way – is somewhere in between.
PG For me it’s hard to connect my identity with a place. I see the significance of identity in a relationship of exact similarity or coincidence, between the idea behind the project and its material outcome.
BS The term is a very complex one. Identity is connected often with homeland, a sense of belonging and a lot of stereotypes. I think it just happens to you. The world is getting smaller and smaller, you see the same products almost everywhere, the same entertainment and information; so identity becomes something that’s kept alive for tourists, it’s a marketing tool.

What about the initial stage, when working on ideas for a new design – identity as a driving factor in the approach or conceptualization process?
PG It’s very important, again in the context of idea and result.
BS Identity isn’t important for my work. I don’t think anybody likes or dislikes my work just because I’m an Austrian. A typical Austrian design style doesn’t exist. When I’m realizing a product with a local producer – because I think low-wage countries aren’t the solution for everything – it doesn’t just automatically come out a product with some national identity.
MZ When making a certain design for a client or brand, identity depends on certain desires. If a designer has positively recognized some identity or a designer’s name became a brand than that can be used for co-branding, and his “identity” will help sell more. But when a designer’s work is merely done for a company that’s looking to maintain its own identity, the designer needs to work in a way that makes the work recognizable.

In today’s world of internet, (other) mass media and new(er) technologies, where we see borders blurred or disappearing in the face of globalization, how do you see or understand the idea of “identity” – as it relates to how we perceive and interact with the world around us?
MZ Of course identity is blurred with all the desires that market has and expresses. In a way people want to look different but somehow they all end up uniform. Lifestyle is a group of brands. What you buy is what you are.
BS I think traditional identities will be diffused and new kinds of identities will be generated. Identity will be based more on personality, independent of place. At the moment I live in Berlin which generates a lot of identities through all its many locals and immigrants. The constant exchange of people creates a liquid and fluctuating identity.
PG I believe a sense of identity is to be found first of all in ourselves, more than in our ability to confront reality critically, but this is becoming more and more complex.

Kontrast talks about “the creative strength, passion and exotica of southeast Europe”. How do see this part of the world, how would you describe or characterise it?
BS I suppose that for a lot of Europeans the southeast really is a little exotic – due to a lack of information; and the idea is based more on stereotyping and speculation than on facts. I think southeast Europe should take advantage of the creative power of the region. It’s the same situation in Austria – have you have heard of an Austrian design like we hear about Italian design? Design should be used to find and confirm identity.
PG This is a part of the world I know only marginally better than others and which I vaguely try to identify with.
MZ Southeast Europe has an understandably passionate love of nice, well-designed things. I’m not sure that an identity of southeast Europe is something I would hold on to when designing. Red stars don’t cross my mind when making a bottle. But my goal is to make things we used to have – differently! I try to produce objects that are both well-designed and functional.

Bernhard Schwarzbauer
From Linz, Austria. 1986 – 1992 trained as goldsmith and engraver. 1993 – 2004 at “Lumen optics and fashion” – design and prototypes for eyeglasses. 2000 – 2006 studied industrial design in Vienna and Berlin, made design for “Ic! – Berlin” and own projects.

Paolo Golinelli
From Milan, Italy. Studied architecture and design at Politecnico, Milan. Since 2003 professor at Milan Politecnico. Author of research related to design and architecture, with focus on spaces devoted to cultural activities. 1998 won Compasso d’Oro award for young designers; has designed furniture and accessories; work exhibited and published in Italy and abroad.

Matjaž Zorc
Design studies at Academy of Fine Arts (Ljubljana). With colleagues established design group Asobi and received first design award on concourse. 1997 joined Idea Company Agency. From 2000 design-work at Futura (advertising) Agency (Ljubljana), on concepts for fairs, exhibitions, interiors, gifts, packaging; design awards in Slovenia and abroad.

Author: Mattea Panterr
Photos: courtesy Golinelli, Schwarzbauer, Zorc; photo of Golinelli chair by Archive Steel