New Canadian Designer - Patkau Studio
Patkau Studio furniture, made in house at the Patkau Design Lab in Vancouver, BC, is an exploration of the studio's fascination with materials, form, and craft into greater focus and accessibility.
Their aim is to enrich spaces with elegant and articulate objects that invite visual, tactile, and emotional engagement. Each curated piece is developed through an experimental process, where every detail is considered and refined, evolving through making, evolving concurrently with architectural designs.
In this feature, we speak with John Patkau of Patkau Studio — a furniture designer and architect, born in Winnipeg, Manitoba, and currently based in Vancouver, BC.
Please introduce yourself!
Born and raised in Winnipeg, I graduated from the University of Manitoba with a Bachelor of Arts and a Bachelor of Environmental Studies in 1969 and my Master of Architecture in 1972. Patricia and I moved to Edmonton in 1978, where we founded Patkau Architects. Our architecture and design research studio has been based in Vancouver since 1984. Our design lab, originally used for architectural models, has transformed over the years and now focusses on bringing our furniture designs to life.
Being from Winnipeg, how do you think that has influenced your way of designing?
The University of Manitoba Faculty of Architecture is a very good design school which had a great influence on Patricia and my development as designers, especially in regard to the balance between excellence and pragmatism.
We are really excited to introduce your line of objects to our Winnipeg audience and especially the Minima Lightform 1. Could you unpack the process of designing this beautiful light fixture?
Minima Lightforms by Patkau Studio is a lighting series that softly illuminates any indoor space. It is a collection of curious objects, each built with the same technique, that activate space from every perspective. The name “Minima” tells the story of its surface. Each “Lightform” is the minimum 3Dsurface between the 2D curves of its internal structure. It is internally static and visually dynamic.
This development of the Minima series transpired over a period of several years. From the outset the objective was to create an evocative luminous form that also functioned as a lamp. It took hundreds of tests and iterations: stretching, bending, restraining, pulling, and warping (not to mention destroying) various materials to become intimately familiar with the behaviour of the skin and the frame to ensure Minima could be reliably produced.
The internal structure of Minima also evolved through a series of iterations. Originally a metal wire frame was used to support the translucent skin and internal LED array. Unfortunately, the frame was illuminated by the LED array and telegraphed unacceptably through the translucent skin. Ultimately a clear acrylic structure, which does not interfere with the distribution of light from the internal LEDs, replaced the metal wire frame and provided a much more robust overall stability.
The subtle graded luminosity of Minima, which enhances the sculptural quality of its form, is the result of the interaction of illumination from the central linear LED array within the lamp and the variable distance and angles of the composite skin through which the illumination passes.
Minima’s clear internal structure and LED array are the product of sophisticated digital manufacturing processes. The application of the proprietary paper pulp composite surface is very much a handmade process. Together these processes optimize the benefits of both digital fabrication and hand craftmanship.
When you are home in Winnipeg and visiting, is there a place that you always make sure to pay a visit?
When visiting Winnipeg I generally stay at the Fort Garry Hotel. It provides a powerful reminder of the Winnipeg I knew growing up.
As I understand it, you’re proud of being from Winnipeg. What is it about our city that you find especially captivating and think people should know about?
When Patricia and I lived in Winnipeg there was a very active cultural scene. Ballet, theatre, symphony and visual arts were all enjoyed at a high level. I think that is still true today.
Your skating shelters are recognizable objects for most Winnipeggers. Please walk us through your design process behind them.
The design of the Skating Shelters was a very important experience for us which launched a whole series of experimental projects and ultimately a book titled Patkau Architects Material Operations published by the Princeton Architectural Press.
Designed to stand with their backs to the wind like buffalo, each Skating Shelter encloses an intimate moment of respite and warmth. The flexible plywood structures are delicate and alive, moving gently with wind and touch to remind those they shelter of the constant natural forces surrounding them. Skating Shelters create precious opportunities for rest and reflection in both indoor and outdoor settings.
Tell us about the collaborative process of you, Patricia Patkau and James Eidse working together on the shelters.
Our studio generally works in a collaborative manner. In the case of the skating shelters, once the concept was established, the design was developed working at full scale in our shop. James was the hands-on guy doing this work with Patricia and me making comments from the sidelines. It was great fun.
Do you currently have a new product for Patkau Studio that you’re working on and are excited to debut?
We are currently developing a number of new products including additional Lightform series, and a lounge chair complement to the Joey Stool.
Patkau Studio brings elegance and beauty to its exploration of material, form, and craft. We're thrilled to offer Patkau Studio products at Hut K—and especially proud to support local Winnipegger John Patkau. Discover their exceptional work here.
