ORTON

Design

Every object begins with a reason to exist.

Each one is developed by resolving form, function, material and manufacture as connected decisions, so that it performs well, occupies space with confidence and stays relevant over time.

Seen from above, hands drawing the Table Light in pencil: its plan and two elevations, set out with construction lines on a sheet of paper.

From place to experience

An object is not designed from a shape. It is worked through in order, and each stage has a question to answer before the next.

Close up of a technical pen drawing a stepped block in perspective, its construction lines still visible on tracing paper.
  1. 01EnvironmentWhere does the object exist? What architectural or interior context shapes it?
  2. 02ObservationWhat physical, spatial or experiential problem has been identified?
  3. 03IntentWhat is the design idea, and what should the object achieve?
  4. 04FormHow does the idea become a physical object?
  5. 05MaterialWhy was each material selected?
  6. 06ManufactureWhy does the object need to be made this way?
  7. 07ObjectWhat is the finished physical thing, and how does it work?
  8. 08ExperienceHow does it affect the environment and the user's interaction?

Design DNA

Ten principles applied to every object. The test is simple: could it be recognised as ORTON without seeing the logo?

Technical drawing of the ORTON table lamp: plan, elevations, a section through the alabaster diffuser and aluminium body, and an isometric view, all dimensioned.
01Reduction
Remove what does not contribute to function, structure, experience or presence.
02Proportion
Resolve relationships between dimensions before adding detail.
03Mass
Use physical mass deliberately. Objects should occupy space with purpose.
04Void
Treat negative space with the same importance as material.
05Interface
Make junctions between materials and components intentional.
06Material contrast
Use industrial and natural materials to create meaningful tension.
07Precision
Use edges, tolerances, transitions and finishes to communicate quality.
08Ergonomics
Treat interaction and use as part of form.
09Visual quiet
Avoid unnecessary visual noise.
10Distinctive detail
Each product should contain at least one recognisable, purposeful design decision.

Material is a design decision

A material is chosen for what it does: how it performs, feels and looks, and what it adds to the idea. These are the qualities each one brings.

Aluminium
Precision, engineering, lightness and controlled reflection.
Glass
Transparency, light, reflection and visual lightness.
Alabaster
Mass, natural variation and light transmission.
Timber
Grain, warmth, tactility and material variation.
Leather
Tactility, warmth and change through use.
A hand lowering a thick block of veined alabaster onto a light table, the light glowing through the stone.
A CNC cutter milling a pocket into a solid block of aluminium, with bright metal chips scattered across the surface.
Table Light L01 seen side-on: a glowing alabaster block resting on a thin, polished aluminium base, its light falling on the surface below.

One object, worked through

Table Light L01

Form
A low block of alabaster, lit from within, resting on a thin polished aluminium base that extends beyond it at one end.
Material
A thick, solid block of natural alabaster from Italy, over polished aluminium.
Manufacture
The base is CNC milled from a single solid block of aluminium.

See the Table Light

Further reading