Also known as Seth from STAACH, Seth acquired his design skills while attending the Rochester Institute of Technology where he earned Graphics and Industrial Design degrees. Seth is both old school and new school as you will see in this interview, he has a deep appreciation of traditional methods but with STAACH wants to apply them to "create a new way of thinking ... that functionally question[s] the modern world in products/ graphics/ culture.". Seth is our first interviewee to include a knife in his list of items 'you can not do without when you are designing'. SMK

STAACH's plywood adam collection, "This line was formed when we sought to create a line of furniture that excused the use of hard fasteners. The resulting furniture is a very basic system utilizing techniques prior to the 17th Century.".

When did you decide to become a designer?
This whole design world is still so new to me. I never really had an art or drawing class, I was just exposed to design/architecture/carpentry at a very young age. Ever since I've wanted to make something that would improve how we as a society live in the world and our perceptions on the objects with which we choose to surround ourselves.

Your first collection (displayed at ICFF) you focused entirely on furniture. If your intention is to “improve how we as a society live in the world and our perceptions on the objects with which we choose to surround ourselves”, does that mean you’ll be branching out with your designs? Or are you wanting to primarily focus on furniture design?
Yes, in fact I am currently working on new pieces that continue to fill out my idea of creating a sustainable, holistic way of life. Even though I am doing this, I still focus a lot on furniture design to keep pushing my boundaries and skills as a designer. However, I would like to see everything come together one day into built environments (houses, buildings, structures) that relate everything together; so I am planning on either going back to school to get my Architectural degree or bring some one into STAACH who has a similar philosophy to mine.

Enos dishware.

Where do you do most of your design work?
The times when I'm not designing, like when I am cooking in the kitchen, riding my bike, or taking a walk.

Why’s this? Do you find inspiration in your everyday activities? How do you translate that into an object that you design?
I feel that the everyday activities are where good design come into play at the most important point. As a designer, you have to relate the everyday activities into a functional object that either improve your interaction with the object or the way that certain object interacts with its environment; if you cannot relate to an object, then what function does it have?

Where, or from what, do you get inspiration for your work?
All of my inspiration is a unification of three things: geometry, nature, and exploration.

Can you tell me why those three factors are so important to you? Can you see yourself eventually evolving away from these factors?
All three of these elements encompass everything I do, the way I create and more importantly, the way I live; so no, I cannot ever see myself moving away from them. However, if other things come up while I mature as a designer and a person then I will certainly use them.

What is your favorite part of the design process and why?
Forming the mental concept into a three-dimensional object and making that object function. I make dozens of models before even starting to make the real thing. I don't understand how one can get a feel for the way an object functions by merely going from paper right into production; you need to touch, manipulate and feel how the object acts first.

How would you label/categorize your work?
I don't, but designer craftsman Wendell Castle has described my work as "Avant-Garde Minimal Modernism."

Do you have a signature style? If yes, what are the hallmarks of your style?
I wouldn't say I have a signature style, but I do work very closely with geometry and linear formations. This branches from a constant study of nature and trying to find out how to frame its organic beauty. Theo van Doesburg said it best in an issue of De Stijl, "let nature produce the organic lines, man has become very proficient at making straight lines; let nature do what it does best and man, the same."

Eve frames.

It’s obvious you need nature to be able to create. It’s mandatory. You also said geometry and exploration were inspiration factors for you. Is there anything else you absolutely cannot live without, when it comes to your design process?
I would say it is all relative to the experiences you allow yourself to participate in. If you do not have an equal flow of the senses in as you do out, it severely inhibits your creative process and way of thinking; designers have to be very fluid and aqueous, if the senses we use to understand our world are blocked or ignored, then that same experience will be reflected in your work.

Who are your favorite designers and/or architects?
Frank Lloyd Wright, Alvar Aalto, and Gerrit Reitveld

What item (PC, pen, etc) can you not do without when you are designing?
I have six: lead holder, marker, graph paper, straight edge, cardboard, and a knife. It's truly amazing how much more you can do with your hands than a computer.

But your designs are so complex and geometric. Surely it’s easier to use a computer? Does one ever come into play during the initial stages of your designs?
Never in the beginning, I will sketch mentally and on paper for days, weeks, even months until I ever touch a computer. My computer is only used as a tool to further develop my products or graphics into a state of completion to deliver to a client, manufacturer, or simply output to web. If you start your creative process at the computer and completely forget about your other much faster skills, like sketching, its like building a house with only a saw; you need a balance of all the tools to successfully
complete it.

What's next?
Well, STAACH (my design collaborative) just won a business plan competition. Our plan focuses strongly on how sustainable products need to be realistically approached in the design business and how we must change the way we do business in order to allow for this new type of manufacturing. We wanted to change the traditional plan for doing business (that is built mainly off of outsourcing both material and manufacturing) because to be sustainable you need to focus on domestic materials, economy, and distribution. Other than trying to get our ideas and products more exposure, STAACH is currently working on the 2007 collection, a line of dishware/table top, lighting, a collection of upholstered furniture, and some textiles for carpeting. So our plate is pretty full, but are always wanting to gain more exposure and work with other artists/designers/manufacturers in the world.

You’re interested in collaboration. Who (anyone, past or present) would you like to collaborate with?
I would honestly collaborate with anyone who came knocking on my door. I am always very interested to hear other peoples ideas and working with them to see the product come to life; so no one really specifically.

+++

VITAL STATS
Full name: Seth Allen Eshelman
Location: STAACH, Rochester, NY
Size of team: 2
In business since: 2005
Claim to fame projects:
Spare time: bike riding, graphic design and street art

MEDIA FAVES
Favorite website(s): There isn't really a favorite website(s), but I am always looking around to see new designers/events/news/releases/people.
What music is on your iPod or radio? My media player currently has King Gheedorah, Schneider Tm, The Underwolves, Bebel Gilberto, Nicola Conte, Barbara Feldon, and Lalo Schifrin...really anything jazzy, lounge, MOD, experimental or beat driven suits me just fine. Also, Jazz 90.1; I feel like I am one the only one left who listens to the radio.
Your favorite magazine(s): Nest(R.I.P.), Faesthetic and Beautiful Decay
Last or current book you are reading: Existentialism: The Collected Essays - Robert G. Solomon
Last movie you saw: Thunderball - James Bond