Lauren Haynes
Melbourne-based furniture designer and sculptor Lauren Haynes draws inspiration from the 1960s and the Japanese philosophy of Wabi Sabi when creating her furniture designs.
Words: Hande Renshaw | Photography: Jess Brohier
H&F: Hi Lauren, tell us a little about your journey as a designer and sculptor?
Lauren: Hello, I started my venture in 2017 whilst studying furniture design at RMIT. Before that I had been working for a local furniture maker, restoring or making things from my backyard. I’ve since done day courses in sculpting and taught myself to work with stone and timber using hand tools and power-tools.
I’m still studying and finishing up my furniture design course now, with intentions to either continue on studying industrial design or do a few more short courses and day courses over a few different disciplines, like welding, ceramics and woodworking.
When did you first know you wanted to be a sculptor?
I had been interested in sculpting for a few years but had not yet delved into it nor found anyone willing to take me on as an apprentice to for work experience, so I was nervous to start and not really sure how. I was on holiday in Europe and the UK (3 years ago) and I was really inspired by the scenery just north of Brighton. There are giant, rugged, chalk cliffs that contrast so well with the blue ocean beside them and the smooth pebble beach underneath.
I suppose I wanted to see how you could sculpt in a similar nature and thought it was time to search harder for some understanding. I started researching timber, stone and ceramic sculpting courses and finally came across a workshop that offered the basics in sculpting stone. The workshop said it would teach first how to sculpt with limestone (as it is the softest and easiest to work with) and then it would progress into further workshops using alabaster and marble, so I signed up for the first weekend I got home and set up a small workspace in my back-yard the day after the workshop.
What does an average day in the studio look like?
When I get to go to my studio, I’m there usually by 7am as I work best in the mornings and prefer to go home to do the admin side in the afternoons. I work on a piece for about 6-8 hours and usually will do a glue-up or sealing session at the end of the day. I have a routine and work best in them so I usually stick to it but when I have breaks between orders I experiment and play with new ideas, which is always when it is most fun.
What does your process look like?
It depends so heavily on what I’m working on. I have a very explorative and non disciplined practice so sometimes a day could be sculpting all day, or researching from home all day to photographing ideas or designs down at the creek.
Generally though (for my furniture pieces) I would start with a design idea as a sketch, I then try to figure out that idea more through sketching and then I research the materials and processes that may be needed. Once I feel confident in the design I will create a 3D model on Fusion360 and figure it out more, then I realise it very roughly with a cardboard 1:1 model, a template or a scale model. I then start prototyping in the workshop and/or start liaising with fabricators and manufacturers.
Lauren Haynes’ new patchwork chairs, which will be exhibited in Design Fringe. Photo: Courtesy of Lauren Haynes
The Foli collection by Lauren Haynes focuses on craftsmanship and sculptural elements in everyday pieces of furniture, made from aluminium and powder-coated in playful colours. Photo: Jess Brohier
“I love furniture from the Memphis movement, the 1960’s as a decade of design and the Japanese philosophy of Wabi Sabi and its design movement.”
Lauren Haynes in her Melbourne studio. Photo: Courtesy of Lauren Haynes
Lauren Haynes’ new patchwork chairs, which will be exhibited in Design Fringe. Photo: Courtesy of Lauren Haynes
Where do you mainly gather inspiration for your work?
My garden, other people's gardens, my childhood landscapes and my native surroundings currently in Melbourne. I love furniture from the Memphis movement, the 1960’s as a decade of design and the Japanese philosophy of Wabi Sabi and its design movement.
Tell us about your latest collection
I have a new collection of patchwork chairs coming out that are reminiscent of my childhood homes and landscapes, which were all over Western Australia, from the northern Pilbara and Karijini regions down the Great Southern beaches and coastlines.
What’s your proudest achievement so far?
A soon-to-be finished furniture design Associate Degree!
The most important tip you would give to a designer starting out and working for themselves?
Make sure you love what you do and try not to get caught up doing it for anyone but yourself. And if you can access NEIS, it’s very helpful when starting-up, which I still am and so grateful for the support.
The biggest lesson you’ve learnt working for yourself?
I have had to gain so much confidence when building relationships with fabricators, other designers etc. I really enjoy meeting new people and learning from all their different skilled mediums, so having this experience has thrown me into that which is great.
Tell us about your inclusion at this year’s Design Fringe
I have one of the new patchwork chairs being exhibited in Design Fringe. I’m really excited about these chairs, I have been developing them for a while now and trying to improve on their sustainability and impact alongside their general design and ergonomics.
The patchwork collection is inspired by my home town(s) back in W.A. and the textures in the fabrics and colour palettes are reminiscent of the many places I have lived. I am excited to share a sneak peak of this and that it fits into the Design Fringe theme of ‘home’ so well. Plus it brings home a little bit closer to me and right now and we all need that if we are separated from it at the moment.
How have you faired through COVID?
I miss my lovely family and home-town very much, but I can not complain and am lucky enough to have studied my way through it safely and supported.