As one of Europe's leading product design and development consultancies, what are the talent-selecting standards in DCA? What are your advantages?
DCA employs people from such a large range of disciplines, each having their own distinct talent-selecting standards – having such a wide spread of skills in-house is certainly one of DCA’s major advantages. As I am seldom involved in DCA’s talent-selecting strategies I can only comment on what my own personal standards would be for hiring new talent. Any designer wanting to work at the top of the field should be able to show great creative thinking and have the subsequent skills to develop and bring their thoughts and ideas to life beautifully.
DCA has been focusing on many sectors, are you in charge of a specific one?
As DCA is a large consultancy, there are a number of sector managers that manage design and engineering projects across the four sectors, which are: consumer, transport, commercial/industrial and medical/scientific. In my role as an industrial designer I am able to work in across all of these sectors, however, most of my projects have fallen into the consumer sector – The consumer sector projects usually comprise of consumer electronics, fast moving consumer goods (FMCG) or brand strategy work.
You have three intern experiences. What kind of influence do they have on your current job?
My three prior internships prepared me in a number of ways for my current job. I gained valuable experience working for a number of well-known international brands, learnt about how to create production-ready solutions and how to translate a brand’s identity into 3D products & shapes – all of these experiences have helped to shape the type of designer I am in my current role.
Countries vary in culture, thinking pattern, etc. So does the design process. What kind of design process do you usually follow?
I don’t subscribe to the thinking that there is one ‘holy-grail’ design process that should be followed for every project. My design process varies from project to project, changing depending on the nature & timeframe of the project.
不过，一般我喜欢从一些非常随意的草图开始，这些草图对于其他人来说常常更像是无法辨认的涂鸦，但是它可以帮助我很快地专注于问题，并思考可能的解决方案。通常，我也会在设计初期就开始使用CAD，因为我发现画粗略快速地3D模型是从各个角度评估设计的一个有用的工具，这是2D草图所不能做到的。在设计流程的后期，我会在Solidworks 和 Keyshot之间来回，用后者来评估设计在不同关照条件下，以及在不同的颜色、材料和表面处理下是如何工作的。
However, I generally prefer to start with some extremely loose sketching, often these sketches look more like indecipherable scribbles to everyone else, but this helps me to quickly wrap my head around the problem and think through potential solutions. Often, I also start using CAD quite early in the design process, as I find creating rough, fast 3D models is a useful tool in evaluating designs from every angle, something you can’t get from a 2D sketch. Towards the later stages of the design process I am generally jumping back and forth between Solidworks & Keyshot, using the latter to evaluate how the design works under different lighting conditions and how it works in a variation of colours, materials and finishes.
Which part of design process do you consider the most important?
Again, I think this is dependent on the project. For example, if I was creating a product from nothing, I would consider the ideation process to be the most important – there is no point of creating something new if the idea it is based on is rubbish. However, if the project was to reskin an existing product, the process fine tuning the details of the form would then become more important.
The KORUS Wireless Modular Microphone won the 2017 Red Dot Concept Award. Can you tell us how did this idea occur to you?
The idea came to me when I was struggling to record both my guitar and vocals at the same time - There seemed to be an unnecessary amount of hassle and equipment required. This got me thinking, reminding me of previous struggles when trying to record bands I had been in in the past. After some more research into the problems with audio recording and live performance, the idea for a new type of microphone struck me. This idea then developed as I experimented with different variations on the idea, until the final KORUS microphone was created.
We know that designing for brands require the designers to follow specific elements of the brands. Within this frame, how do you make innovation? Does this frame obstruct you or facilitate you in design?
I don’t see designing within a brand’s visual brand language as a barrier for innovation, designing within the brand’s language is crucial to create a strong, unified set of products. However, problems arise when brands see design merely as a box ticking exercise and not a tool to create new and better things – mentalities like this can certainly limit design’s impact.
What is your hobby? Do you get inspiration from it?
One of my favorite things to do is travel, seeing how people live and interact with products differently depending on their culture is something I hope has influenced and inspired me to be a better designer.