Asaf Weinbroom 390.
(photo credit: Dan Peretz )
Einat Kayless Argaman founded DesignBreak in 2009 and since then has gained a
large community of daily readers celebrating the design scene in Israel and
Asaf Weinbroom always had dreams of becoming a fashion designer.
He applied for fashion studies at “Shenkar” academy but the admission committee
thought a better place for him would be the industrial design
Their loss is our gain as now we can all can enjoy the work
of a great industrial designer who is inspired by the world of textile and
fashion. In his tiny workshop, and with his own two bare hands Asaf produces,
the most minimalistic yet smart wooden light fixtures.
Who would have
known that wood can be transformed to these extra elegant pieces of art. His
precise choice of texture and density as well as his magic touch make him one
special designer who for sure will amaze us in the years to come.
think it was all written in the stars for him like his grandfather before
Can you tell me a little bit about your background?
I grew up in a
religious family in Rishon Lezion and studied in a few religious institutes that
didn’t have any art or design related classes.
As a child I remember
myself taking cars and other toys apart because I was curious to discover what’s
going on inside.
When my mom was younger, she dreamed of studying design
and fashion at Shenkar but followed her parent’s advice and turned to a more
“prestigious” course. So, when I decided I wanted to peruse a design career, she
obviously was happy with it and was very supportive.When did you first
decide that you wanted to become a designer?
When I was released from the army,
I began looking at schools in the design field. I wasn’t sure if it was going to
related to fashion, interior design, textile or industrial design. I tried but
didn’t get into the fashion department in Shenkar and I didn’t really know what
industrial design meant at the time.
A year later, I signed up for
fashion studies as well as industrial design and as it turned out I got accepted
to the industrial design department. During the exams I felt as if I found the
right profession that would definitely suit me.Where do you live, what
stands out about living where you are, and how does it affect your creations?
the moment I live in Tel Aviv but I don’t feel like the city affects me or my
creativity. When you look at my work, you can sense European influences because
of the use of wood and thin veneers. I think that with all the amazing design
oriented websites updating so rapidly it is hard to find design which is typical
for a specific region.Tell me about your process, what is your typical
working method? Do you sketch things out by hand or go right to the computer?
always begin with rough sketches and try to iron out all the technical issues at
the beginning. Sometimes the concept folds out smoothly and when it doesn’t I
let it go and move on. I believe that a good concept has to immediately pop
If I need to involve technological aspects such as laser cutting or
machining I turn to the computer, otherwise I move straight to the workshop and
build the first model. I believe that working with a computer can be misleading
and you should always work manually. Most of the time the screen can be
deceiving and to come up with the right proportions you have to see and sense
the product itself.I know it’s probably hard to pick, but do you have a
It has to be the light fixture from my first series, the “Gardom
Light.” It’s my favorite because of it’s simple mechanism and smooth movement.
It has a volume and height that draws attention and a logo that reminds me of a
crane that lifts a lampshade.What are some of your methods of staying
motivated, focused, and expressive?
I have a constant burst of creativity that
keeps me thinking of new objects and combining new mechanisms and technologies.
The minute an idea pops into my head, I have to run with it, and by then a new
product is born.What are your sources of inspiration?
I like to stare at
old cars; they have lots of mechanisms and junctions that you can’t find anymore
today. It all disappeared underneath modern plastics.
Other than that,
there are a lot of fashion web sites which highlight the interesting connection
between fashion and industrial design. For my light fixtures I often use buttons
that are inspired by old coats.Could you share with us your progression
as an artist, compared to when you first started out, how have you changed since
When I finished school, I knew I was full of ideas that I could turn into
finalized products. I decided to focus on lighting. The first and second series
came from my gut, disregarding any kind of business or commercial aspects. My
last series and the ones I’m working on at the moment, evolved from a gut
feeling but are also influenced by production, packaging and sales
These aspects are important and I learned from experience
they can’t be ignored. Other than that, I’m working with a personal coach, and
together we think long and hard about what my next step will be. In school, they
don’t teach you how to run a business and most of the designers aren’t born with
a business sense.What advice do you have for young designers who want to
follow your path?
You should focus on one thing that you are good at, and in
time you’ll be an expert in your field. Always ask for the help of businessmen
and learn from them.What has been one of the biggest lessons you have
learned since starting out?
Whenever you get an opportunity to showcase your
design, grab it with open arms. You never know who will open the paper or show
up at a gallery that you are presenting in.
Where do you see yourself
within the next few years? I plan on transforming my own workshop into a small
factory that will produce hand made light fixtures and furniture and will be
well known worldwide. In addition, I hope to keep presenting every year in the
Milan design week and form new contacts and relations.Do you listen to
music while you work?
What’s playing in your studio right now? I listen to 88Fm
or 106FM. They have some interesting choices when it comes to music.If
you weren't a designer, what would you be? An actor or a dancer.
you working on at the moment? I’m working on two new series that combine wood
and metal and soon my first solo exhibition is going to start.Finally,
tell us something no one knows about yourself.
My grandfather survived
the Holocaust thanks to his outstanding technical skills. He was beneficial to
the system and therefore survived. I inherited those skills and use them to
build and design lamps.Read Einat’s blog and follow her designed journey