The second ‘lockdown special’ episode of Material Matters features the excellent Sheridan Coakley. The entrepreneur cut his teeth as a modern furniture dealer before founding the iconic SCP – or Sheridan Coakley Products – in London’s Shoreditch during the mid-eighties. 

The manufacturer and retailer burst onto the nascent British design scene with pieces by Jasper Morrison and Matthew Hilton. In 1991 it produced the latter’s Balzac armchair, which has gone on to become a bona fide classic. Over the years the roll call of designers Sheridan has worked with includes: Konstantin Grcic, James Irvine, Michael Marriott, Donna Wilson, Rachel Whiteread and Reiko Kaneko to name just a handful. He has legitimate claims to be considered one of the most influential figures in British design over the past 35 years. 

In this episode we talk about his early days; swapping bubblegum cards with artist Eduardo Paolozzi; meeting Jasper Morrison for the first time (in quite surprising circumstances); setting up business in unfashionable east London; copying classics; the state of British design; and the future of retail. 

You can find out more about SCP here: scp.co.uk

(Please note this is a special episode made in really quite tricky circumstances, so the sound quality isn’t quite as good as normal.)

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This is the first special ‘lockdown’ edition of Material Matters. As regular listeners will be aware, we usually record our interviews in the studio or workshop of our guest but, because of the virus, this wasn’t able to happen.

So instead this show was done over the internet with the brilliant Gareth Neal. The London-based designer and maker has exhibited pieces across the world and has work in the collections of the V&A and the Crafts Council. 

Over the course of our chat, Gareth talks about his latest work in 3D printed sand; explains why designers should constantly be questioning themselves and their methods; and unpicks his eclectic collaborations with the likes of Orkney chair maker Kevin Gauld and cutting-edge architect, the late, great Zaha Hadid. 

However, the real focus of our discussion is his lifelong relationship with timber – he illustrates how the material is both fascinating and frustrating in equal measure – and technology, with the self-confessed ‘gambler’ putting forward a case for why digital manufacturing should be considered a form of craft.

You can find out more about Gareth’s work here: garethneal.co.uk 

(Please note this is a special episode made in distinctly tricky circumstances, so the sound quality isn’t quite a good as normal.)

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Junko Mori is one of the world’s leading metal artists, who has work in the collections of The Goldsmiths’ Company, The British Museum and numerous others. The Japanese born blacksmith is renowned for her extraordinary work in mild steel or silver that aggregates hundreds of individually forged elements to create pieces that are often inspired by nature in general and cell division in particular. As she has said: ‘The uncontrollable beauty is the core of my concept.’ 

We talk about growing up in her native Japan; how she ended up fixing boilers in Tokyo for a living; why she decided to move to the UK in the 1990s; the fundamental differences between the two cultures she has lived in; and how she learned English by going to the local pub. 

Most importantly we talk about metal and the meditative qualities of forging – it’s a bit like jogging only better apparently.

You can find out more about Junko’s work here: www.junkomori.com

Meanwhile her pieces can be purchased here: adriansassoon.com

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It’s safe to say that ceramist Malene Hartmann Rasmussen is a one-off. I vividly remember first seeing one of her pieces in 2011. ‘If I Had a Heart I Could Love You’ was tucked away in a corner of an exhibition. 

At its centre was a wood burning stove but instead of logs there were clay hearts sizzling in the fire. Phallic wooden stumps grew out of the walls, while on the floor a pair of ceramic snakes appeared to be taking a distinctly Machiavellian interest in a nearby squirrel. It was obviously profoundly influenced by the fairy tales of the Brothers Grimm but also contained more than a hint of Pop Art as well as a dash of David Lynch’s seminal Twin Peaks.

In this conversation we talk about how growing up in provincial Denmark, with a family that had more than its fair share of issues, effected her work; her love of traditional Nordic fairytales in general and trolls in particular; a life-long fascination with film; and why her dog Django features so prominently in her work. Primarily though was focus on her love of clay and how the material has changed her life. 

You can find out more about Malene’s work here: malenehartmannrasmussen.com

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Car designer John Barnard is a Formula 1 legend. If motor sport is an orchestra of materials then John is its Simon Rattle. Over a garlanded career he worked for Ferrari (twice), Arrows and Prost. But his reputation was forged at McLaren, where he created the first car with a carbon fibre chassis. Lighter and safer, it won a lot of races too. 

More recently he has been working on a range of carbon fibre furniture with Terence Woodgate for British manufacturer Established & Sons.

In this episode we talk about quite how controversial it was to use carbon in the early ’80s, with other designers (and the media) believing that in a crash the new car would go up in a cloud of black dust. We also discuss his relationships with some of the biggest names in the sport, including Ron Dennis, Alain Prost and the great Enzo Ferrari; his childhood in North Wembley; the importance of beauty in what can be a brutal business; the profound effect the death of Ayrton Senna had on F1; his innate understanding of a vast range of materials; as well as how he got the nickname The Prince of Darkness. 

You can find out more about John’s work for Established & Sons here: establishedandsons.com

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Daniel Charny is a design educator, curator and a creative consultant whose practice, From Now On, has worked with the likes of the Design Museum, developer U+I, and Heatherwick Studio. 

However, he is arguably best known for co-founding Fixperts, an organisation which in the words of one writer ‘started out as a simple way of celebrating and clarifying the ingenuity and problem-solving power of design’. Since then though it has become rather more than that. 

In this episode we talk about the importance of making and the ‘axis of care’ that runs the gamut from conservation to hacking; craft’s relationship with industry; his upbringing in Israel (and elsewhere); the time Ron Arad told him he was unemployable; and his surprise at the huge success his V&A exhibition, Power of Making, enjoyed. 

Mostly though we focus on the success of Fixperts and why he wants everyone to be repairing things.

You can find out more about From Now On here: fromnowon.co.uk and there’s more about Fixperts here: fixing.education/fixperts

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Shelley James is a globally renowned glass artist with a fascinating tale to tell. She was ensconced in the corporate branding world – working for the likes of Imagination and Landor – before an injury to her head, sustained in a bicycle accident, completely changed her life and perspective. After a six-year (yes, six-year) period of convalescence, she decided to leave the business world behind and study printmaking. However, after a trip to the National Glass Centre in Sunderland, she became smitten with the material and has set out to push its possibilities ever since. 

Always looking to collaborate with new people from different disciplines, she has worked with surgeons at Bristol Eye Hospital, physicists at Imperial College, contemporary musicians and even Sir Roger Penrose, a mathematician and philosopher of science famed for (among other things) his research with Stephen Hawking. And she has managed all this despite only scraping an O Level in Maths. 

Shelley also happens to be wonderfully articulate, which is handy for a podcast like this…

You can learn more about Shelley’s work here: shelleyjames.co.uk

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Edward Barber and Jay Osgerby of Barber Osgerby are renowned industrial designers who have worked for the likes of Vitra, Knoll, Magis and Flos, as well as working on installations for brands such as BMW and Sony.  

In this episode the intention was to chat about the role plywood played in their nascent careers with Iskon Plus. However, we ended up chewing the fat about (among other things): meeting at the Royal College of Art and nearly being kicked out; not slagging off Richard Rogers; the 'toxicity’ of contemporary design; how the British design scene has changed since they emerged in the ’90s; the importance of collaboration; their obsession with making; and why their work definitely, definitely isn’t ‘Blair-ite’. 

En route we also go into detail about the creation of the Olympic torch for the 2012 Games, the thinking behind their revolutionary Tip Ton chair for Vitra, and their recent On & On stacking chair made of recycled plastic for the US manufacturer Emeco.

You can learn more about Jay and Ed’s work here: barberosgerby.com

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Corinne Julius is a London-based journalist, broadcaster and curator who was born into design. 

In this episode we discuss the history of her family firm, Hille, which revolutionised British furniture design after the Second World War, pioneering work from the likes of Robin Day and Fred Scott; her difficult time at the Royal College of Art and why she eventually felt compelled to leave; how she fell into journalism; and her introduction of craft to Radio 4’s Woman’s Hour. 

Importantly too, we examine her curating work, which includes the Silver Speaks: Idea to Object exhibition at the V&A and Future Heritage, her annual showcase of cutting-edge craft and design at the high end interiors show, Decorex. For good measure we also touch on the relationship between art, craft and design, and the importance of thinking through making.

I think it’s safe to say that Corinne had some reservations about doing the interview but (I reckon) that the finished result is evocative and really rather personal. 

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Sebastian Cox is a young London-based furniture designer, who founded and co-directs his eponymous company. He is renowned for his use of traditionally coppiced hazel.

In this episode he talks about his ambitious new manifesto, Modern Life from Wilder Land, that sets out a more sustainable future for food production in the UK. 

We chat about how we need to radically shift the way we use land; reducing our reliance on meat; how our woodlands need to be more effectively managed; and why design is a political act. Oh and we also discuss his issues with sheep and going to the gym. 

Not only that but we also unpick his relationship with timber; the importance of coppicing to his practice; the pressure of making a bespoke desk for a certain Sir Terence Conran; his more recent experiments with mycelium; and his love of Northern Soul.

You can find out more about Sebastian and his company here: sebastiancox.co.uk

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