From investigating “parallel lives” to predicting the future of superstitions and fortune telling in the year 2029, London-based designer Patrick Stevenson-Keating often toys with the curious concept of bringing hypothetical theory into the physical domain. His latest project saw him team up with Super/Collider to create the world’s first handcrafted glass particle accelerator, whilst previous designs have been informed by Victorian mini-street theatre, our ageing population and procrastination, to name but a few.

When he’s not making homemade versions of the Large Hadron Collider, Stevenson-Keating is keeping an eye on emerging technologies in his position at design consultancy SuperFlux and working alongside physicists, software and hardware engineers and print technicians at printed electronics company Novalia. Yet, amongst all these obsessions with technologies, theories and social interactions, the elegance, precision and contemporary aesthetic of first-rate design is never lost. Patrick’s is a design of thoughtfulness, intelligence and innovation – but never uneasy on the eye – and traditions, history and heritage also play a key role.

We spoke to the inspirational young designer about his thoughts on British creativity, the design industry, and his inspirations…

Handcrafted Particle Accelerator (2012)

Where’s your hometown, and where are you based now?

I’m originally from a city in northern Ireland called Lisburn. It’s quite a small place, similar to most other medium sized UK cities, but it used to have a thriving linen and mill industry. 

I moved to Dundee in Scotland to study product design at university there. I lived there for 4 years and grew very fond of the place, and still find myself going back from time to time.  It really is a great place to be a student, especially an art or design student, as there are some amazing things happening there despite its size, and being a bit removed from the “design scene”.

Now however, I am based in London, living in Brixton and with a studio in Shoreditch. It’s definitely moving from one extreme to the other in terms of size and London’s truly international stature. 

Do you think location affects creativity?

I have enjoyed living in all the locations I have, and each one has taught me something different. I really believe creativity can flourish in almost all environments. Some locations doubtlessly have more to offer culturally or artistically, but I’m not sure if that always means people there will be more creative. Sometimes a really tough environment forces you to be more creative – having to use limited tools or materials can often give rise to new solutions or ideas which you might have missed otherwise.

However, saying this, I do think the people you surround yourself with definitely affect creativity and how you think. I remember hearing once, “who you’re working with is more important than what you’re working on.” To some degree I think this is true. I have been lucky to have always been surrounded by amazingly creative people who really challenge me – I think this is the important factor when it comes to location.

Pirate Radio (2009)

Bespoke CCTV (2010)

Is Britain’s creative industry too London-centric?

I think there is still, to a degree, an element of nepotism surrounding the London design world. This is not a criticism of London design firms at all – it’s easy to see why this might be the case. There are constant degree shows, exhibitions, gallery openings etc that it’s hard to absorb all the work coming out of the capital before venturing further afield.

Coming from elsewhere in the UK though, I am really excited about the design happening across the Britain. At university I was lucky enough to win the Northern Design product design award, which is open to all students in northern England, Scotland and Wales. It was great to see so much wonderful design outside of the usual setting of London.

In the next few years the V&A will be opening their secondary museum in the UK, and the location they have chosen is Dundee. I think this in itself is a wonderful show of confidence in design outside of London, and will only help distribute the creative industry UK-wide.

BioSuperstitions (2010)

How would you describe British creativity?

I think Britain has a certain form of creativity which is unlike that of most other countries. Maybe I’m bias, but I do think that British creatives have a very progressive way at approaching their work. For me, the most exciting work in design is coming from Britain – the designers may not always be British, but it is the environment of creative people and influences in he UK which breed this brave, off-beat attitude which is unique to here I think. I think UK-based designers are brave, and are at the head of the pack. It’s an exciting time to be working or studying in Britain.

The Swinging ’60s, punk, Hacienda-era Manchester… is there one period of intense British creativity that you’d like to have been a part of, and why?

For me actually, the current period feels really exciting. In terms of technology – materials, processes, electronics, science – I think it’s one of the best times to be a designer. Really exciting things are happening round every corner, they maybe quiet as yet, but there is a sense that things will emerge to the surface in an exciting way. There are understandable reasons to be down in terms of the economy, but some of the cutting-edge projects I am currently working on really give me encouragement for the future.

Apart from now, the period I would most like to have been a part of is actually the Industrial Revolution and Victorian Enlightenment. This was arguably the most creative and innovative period of British history ever. In a reasonably small period of time, the world changed substantially forever. The designers and creators at this time paved the way for the culture and society we have today. I can only imagine the excitement which must have been felt at this time – the feeling that anything was possible, and that you were really changing the world, must have been exhilarating.

Plastic Fantasia (2010-11)

Are there any quintessential British traditions that inform your work?

I’m not sure if it’s exactly a British tradition, but I think rigour and attention to detail are major parts of my work. One project I did do which surrounded a British tradition was a set of tea-making machines. It was looking at the idea of procrastination or productive time wasting (possibly a British tradition in itself) and doing a simple thing like making a cup of tea in an elaborate, drawn out process. Each stage of the tea making process was isolated and performed by a specific hand powered machine.

The top 3 British creatives who have inspired you?

I’ve been very lucky to have had inspirational people around me throughout my life. One person who had the biggest influence on me from an early age was my father. He was a director at the BBC for many years – undoubtedly a creative job – but his influence on me was more of a maker and craftsperson. He was fantastic with his hands! We would spend hours salvaging materials from building sites, old furniture, broken products to make the toys I grew up with. I got more pleasure from these than anything I could have been bought from a toy shop, and this, without me knowing at the time, was what sowed the seed for me to pursue a career in design.

For my second choice I’m going to have to roll two people into one – my two Dundee lecturers Jon Rogers and Pete Thomas. These designers definitely played the largest role in crafting me into the designer I am today. Their enthusiasm, mastery of their trade – and ability to really challenge and push me – was unlike anything I have seen and experienced to date. I will forever be in their debt.

Number three would have to be Sam Hecht of Industrial Facility. I am a huge admirer or his work and hope I can become as accomplished as him one day. He imparts an air of exquisite balance on his designs, and seems to always produce fully resolved products with a sense of ease.

Fabrica Mint (2012)

Tea Machines (2010)

If you could collaborate with one GB creative, from any field, who would it be, and why?

This is a really tough question – there are a lot of wonderful British creatives I would love to work with. One person I would love to be able to work with though would be Roger Deakins, the director of photography of films such as The Shawshank Redemption, No Country For Old Men, Jarhead and lots more.

I’m a bit of a film fan, and love the way in which film can be used as a tool. Particular shots can say so much, and it’s hard to beat the feeling of experiencing a truly wonderful film. I think the worlds of design and film are closely intertwined. Narrative and context are elements which play a very important role in my work. I often think of my pieces as being like snap shots or glimpses into a larger story.

I’m not really sure what we would do, but I’m certain it would be a great experience and an exciting project!

Will you be watching the Olympics?

Yes indeed, but from the less exciting venue of my sofa. I was too late in applying for tickets so didn’t get any – unless anyone would like to donate one!

On Our Way To The Impossible (2011)

Song Of The Machine (2011)

Which sport would you like to compete in at London 2012?

Well I am a really keen cyclist, and try to get out everyday if I can and it’s not too wet! I go to Herne Hill velodrome on the weekend which was an Olympic venue last time the games were held in London. So it would definitely have to be one of the track cycling events – one of the sprints as I’m not great over longer distances, but I don’t think Sir Chris Hoy has anything to worry about just yet!

The best piece of advice you’ve ever been given…

“things should be as simple as possible, but no more.”
“nothing perfect can evolve.”
“working hard will get you further than just being good. It’s 90% perspiration, 10% inspiration.”

We’re going to the pub and we’re buying, what are you drinking?

Either a rum and ginger beer with lots of lime, or a Hendricks gin and tonic with cucumber.

What’s next for you?

Well in the short term I’m as busy as ever. I’m currently working on an installation with Vauxhall and super/collider for the new Filling Station at Kings Cross. I’m continuing my work with printed electronics company Novalia in Cambridge, and Superflux the design futures studio in London. Apart from these, I have a few pieces in various shows for London Design Festival.

Slightly longer term I have a few very exciting projects coming up, but unfortunately I can’t give too much away about them!

Patrick Stevenson-Keating