Ango lamps are notable for their unusual material composition. Can you tell us something about what led you to these unconventional materials, such as silkworm cocoons?
After moving from being an architect in London to being a lighting designer in Thailand, I found the same considerations of form light and texture apply, really.
The diffuser materials being used need to work towards the form I’ve envisaged, but generally have developed in a fairly random fashion through observing what’s around, followed by a good deal of experimentation with either “found” natural materials, or developing composite/natural ones.
How has living in Asia, and Bangkok, in particular, influenced you as a designer from the west?
I notice a looser attitude, more open in what is really quite a push/pull process between the concept, the design process, and the technique/materials being put into play.
Also, our own production techniques, which are mostly quite intricate and involve hand made production techniques that we’ve built from the ground up with our artisans, has been essential, and this is an influence in itself on me as a designer.
Sustainability is a design buzzword, with a range of definitions. As a product designer, how do you define sustainability?
I do feel that quite literally, in terms of product design, creating things in a way that is sustainable for the Earth to support without us degrading it, or without creating more degradation of the ecosystem
To that end, our production techniques are inherently environmentally responsible, and the energy usage/carbon footprint involved in creating the diffuser in each of our designs is extremely low, with fabrication by hand, using highly renewable materials. For the steel components, while these undeniably have a higher footprint, they’re designed to be easily retrofitted or recycled