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JEAN-PAUL BATH
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Sam HECHT

Contact : Industrial Facility - Clerks Well House - 20 Britton Street EC1M 5UA London - Royaume-Uni

Ph. +44 (0)207 253 3234

mail@industrialfacility.co.uk
www.industrialfacility.co.uk
 
Sam Hecht was born in London in 1969. His training began at the Hornsey School of Art, followed by a degree in Industrial Design at the St. Martins School of Art. His interest in industrial design and architecture led him to apprenticeships with David Chipperfield and Queensbury Hunt. Hecht thus began to define the style that characterizes his personality as a designer. A profound search for the essential, acute observation of the world we live in and a belief that simplicity can be inspirational. In 1993 he completed his studies at the Royal College of Art in London. With the poor state of the design economy at that time, he travelled abroad, first to Tel-Aviv where he had met previously at the Architectural Association a group of students. This was followed by 3 years in California, and 3 years in Tokyo. This period involved the collaborations with Naoto Fukasawa, producing some startling product typologies over the course of 6 years: Whitebox for NEC (1997); Printables for Epson Japan (1998); and kitchen products for National (1998). In 1999 he returned to London as Head of Industrial Design at the offices of IDEO, where he completed his first piece of Architecture - a pavilion for Thames Water (2000), being awarded the RIBA emerging architecture award. In 2002, he co-founded Industrial Facility with his partner Kim Colin.

He began to work with manufacturers, and the number of clients increased in just a few years, with most of his work in Europe and Japan. For Muji Japan he created the ’Second Phone’ (2004), which led to him being invited to become Design Director for Europe. For Harrison Fisher, a Sheffield company, he became retained designer producing a notable sequel to Robert Welch’s Chantry Knife Sharpener (2004), selected for the Frankfurt Museum, as well as the progressive IF4000 collection of knives (2005). For Epson Japan, he returned to designing products after a gap of 5 years, with the first DVD/LCD projector (2004). His projects represent a new form of design that Daniel Weil terms as ’Ghosts’. Multi-dimensional, essential forms, with the designer name and its expressiveness removed from the foreground. An example is the continued collaboration with Lexon France, where his projects involve unexpected solutions to technology. For example, the ’Twice’ clock and ’Once’ watch (2003) both involve suppressive functionality, yet deliver more satisfying and efficient use. The collections now form part of the Pompidou, Paris. His interest in the simplest of solutions does not hinder his creative flare, with some remarkable designs such as the FlexLamp for Droog (2004) and the ’Equipment’ project for Whirlpool (2004). It was this project that brought about the most compelling collaboration yet, with Kim Colin, an architect by training. Based on what they term ’Product as Landscape’, it attempts to position Whirlpool as a manufacturer of landscapes, with a complete kitchen as a product.

His career has also included teaching activities at the Royal College of Art of London, and many solo and group exhibitions, the most important of which include: ’Sam Hecht and Ron Arad - The artist and engineer’, Paris (2002); ’Under a Fiver’, the Design Museum, London (2000); and the retrospective ’FOUND/MADE/THOUGHT’, at the Israel Museum (2005). He has written several books including ’Things that go Unseen’, with Kim Colin, and art directed the ’Landscape’ issue of Cent magazine.


knife collection IF4000

knife Sharpener Chantry Modern

knife Collection Solid

telephone Telephone

Low Sofa Program

chair Plywood Sofa

magnetised MP3 Player Sound Gum

digital Clock Twice

optical Mouse Mouse Trap

kitchen Equipment

headband Hairglasses

LCD/DVD Projector Epson View

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