094 CLIENT FILE
Where some people view themselves as artists, engineers or architects, Richard Moss likes to take a more interdisciplinary approach to his design practice and ethos
WORDS BY PAMELA BUXTON
What – or rather who – could possibly link such disparate creations as Santiago Calatrava’s spectacular World Trade Centre Transportation Hub in New York, mixology machines that will rustle you up a cocktail in less than a minute, and hearO, a speaker made out of a used tennis ball?
Te answer is Richard Moss, the 40-year- old founder of Rogue Projects, a London- based experimental design consultancy that this year celebrates its tenth anniversary. Perhaps it’s because Rogue is so hard to pigeon-hole that Moss is not better known given the highly engaging nature of his work, which also spans retail design in South Africa, residential refurbishment in Amsterdam, a pedal-powered monorail concept for Google, further tennis-ball related products and installations, and much more besides. ‘I’d consider myself a designer with a speciality in product design, in materials, and with a real love and focus for architecture and engineering as well,’ he says, regarding this inter-disciplinarity as one of the studio’s strengths.
So, too, is imagination, which he identifies as ‘a core value of the studio’. And having taken art classes throughout his career, Moss also describes himself as very much centred within the arts.
‘My heroes are artists who re-think materials, and re-think what things could become,’ he says, referencing the Chinese artist and activist Ai Weiwei among many inspirations.
A visit to his Islington studio is revealing. Beautiful shells and other well-considered objects plus artwork by Moss help set the creative ambience – as well as plenty of tennis balls. Rather unexpectedly, the space is presided over by the large stuffed head of a Cape Buffalo (a client’s, due to be turned into a sculpture against hunting).
Clockwise Rogue’s interdisciplinary approach weaves artistic and engineering principles into projects that promote environmental awareness through cutting-edge design
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117
