Emiliano Godoy is one of the most consolidated Mexican industrial designers. It is part of the Tuux workshop and co-founder of Pirwi. Among his many distinctions, the most recent is the inclusion of his knit chair in the permanent collection ofMOMA in New York.
How was your firm born? Who make it up?
It emerged in 2004. I decided to work in an office that allowed me to test the ideas and methodologies of the environment that I had developed in previous years, accepting only the projects that had an impact.
In 2011, I split my company in two: I associated with a group of designer friends and found Tuux, a design and production firm where we can cover major projects. I also made a very small structure dedicated only to design for external manufacturers. I have designed for Lamosa, Nouvel Studio, Weidman, 3-form, Shaw and Marisa, among many others. This way, I guarantee to my clients that it is me who is designing the piece for their company.
What is the main philosophy behind your practice?
Design is understood as a tool for business: practiced correctly, it should translate the brief delivered by a corporation in products and services that meet the requirements therein detailed. It is understood that in addition it must look for innovative proposals of solution. The designer must look beyond the company and its productive capacity. But it is assumed that the real objective is to provide a service to the business itself - interpreted as an economic activity.
The main problem with this understanding of the discipline is that it delegates all ethical and moral considerations to the client. Thus the designer becomes a mercenary, ready to design any project no matter how toxic, polluting or malignant.
How would you describe the essential elements of your own methodology?
It starts byunderstanding four contexts surrounding a project. The first is the global context, where macro-trends of the environment, society, and economy become more important. The second is the regional one, focused on the country or community from which the project is generated. The third is the context of the project, which is, in fact, what all designers normally contemplate. The customer, the market, the user, and so on. In this field we work with the common tools of the discipline. Ultimately, there is the designer and the firm´s context.
Which projects are you best known for?
The best known projects are always those that look best in photographs. Perhaps the "Knit Chair" made by sewing pieces of plywood, the "Mar Adentro" glass, made in hand blown glass with movable molds, or more recently the "Backseat Driving table" in wood and maquetry.
What are the main challenges or areas of opportunity in the professional practice of contemporary design?
What has been left to the designers, not finding a niche market or a channel of integration to the rest of the national production, has been to create their own companies. In all publications or exhibitions of objects of products of Mexican design, what we see is a sample of designers / entrepreneurs or designers / manufacturers. This is probably the main reason why design in Mexico serves only a minority of the population, while the majority of Mexicans consume products that don´t adapt to local needs.
Who have a design practice - in all its aspects - in Mexico that deserve to be recognized by the general public?
At least once a week I find outof a new project or product, created by a young designer that I do not know, and that is really valuable. It is time that both the public and industry and the government participate in the capitalization of the national production.
What is a building or space that anyone in the city of Mexico should visit?
La Torre Latinoamericana on a clear day. The fatalists can go on a day of environmental contingency ...
What would be a project you would like to do?
*This interview was published in FRENTE.