Beyond function?

Meet Laurids Gallée – a designer who refuses to be confined by traditional definitions of function and form. Known for his innovative use of materials and a passion for exploring the conceptual side of design, Gallée’s creations occupy a fascinating space between sculpture and utility. He doesn’t just design objects; he creates pieces that provoke thought, challenge expectations, and often leave you wondering whether they belong in an art gallery or your living room. Whether it’s a lamp that behaves like a sculpture or an experimental mix of materials, Gallée’s work is about more than just utility – it’s about creating pieces that make us feel.

hube: Your work often seems to challenge traditional notions of utility in design. How do you view the tension between an object being purely functional versus serving as a statement piece? Is there a moment in your design process when you decide which direction to lean?

Laurids Gallée: I’ve always been more fascinated by the statement side of things rather than functionality. While I was trained as a designer, and I do create functional objects, my real passion lies in the creative journey. To me, the object is almost like a canvas. Painters have their canvas, and I have the form of an object – it’s just a base for exploring the concept, the history, and the artistic expression. I know some amazing designers who excel at creating purely functional pieces, but I prefer to leave that behind and focus on what inspires me creatively.

h: Would you say this creative journey happens intuitively for you? Or do you have to consciously focus on it during your process?

LG: It’s funny – sometimes I find it hard to move away from functionality! I might start with an idea that’s purely about materials – like combining two textures I’ve noticed in the world – and immediately my mind starts designing a functional object around it. I guess it’s just in my training. I’m working to push past that and allow myself more freedom to explore form without having to justify it with function. But for now, functionality is a safe zone I tend to stay in.

h: Your designs, particularly those incorporating resin, create a sense of fluidity and permanence simultaneously. If you could anthropomorphise one of your designs, what kind of personality would it have? What stories would it tell?

LG: I don’t usually think of my work in terms of personalities, but after reflecting, I’d say my resin works remind me of a bonfire – or maybe more like one of those torches you’d find on the walls of a medieval castle. There’s something organic about them, something that burns quietly in the corner yet fills the whole room with its presence. So, I’d say the personality would be passive on the surface, but if you focus on it, you’ll find layers of intrigue and subtle changes, just like how fire flickers and evolves.

h: You’ve mentioned how important the emotional response is in your work. Do you think it’s an artist’s job to infuse their creations with a soul?

LG: ‘Soul’ is a big word, but I do think a designer or artist must create work that resonates on an emotional level. Yes, historical context and references to past work are important, but what matters more is how a piece makes you feel. That’s why design and art are so subjective. If my work manages to evoke a reaction, whether it’s surprise, awe, or even discomfort, I feel like I’ve succeeded. It’s that emotional connection that makes a piece timeless and worth treasuring.

h: We often hear about sustainability in design, but less about the idea of ‘emotional sustainability’ – creating objects that people form lasting connections with. How do you approach this in your work? What makes a design truly timeless in your view?

LG: Emotional sustainability is an interesting concept. When I create something, my intention is never mass production – it’s about making one or a few pieces that truly resonate. Every piece I make is treated like a diamond, and I want the people who own them to feel that connection. I’ve worked with collectors who have been so excited about a piece that we even collaborated on something specific for them, which is a much more personal and intimate process. To me, that’s the essence of emotional sustainability – creating something that holds meaning and value beyond its practical use.

h: Looking ahead, what’s the next big boundary you’re eager to push in your work? Is there a material or concept you haven’t explored yet that’s been on your mind? How do you see it transforming your creative process?

LG: Right now, I’m working with light and transparent materials, exploring how they interact. I’ve got some pieces coming up for a show next year that blur the line between sculpture and functional objects, like lamps. The challenge is figuring out how to highlight light and reflections in unexpected ways, sometimes even without an internal light source. I’m excited about digging deeper into this idea and seeing where it takes me. There’s so much potential, and I’m eager to see how it evolves over the next couple of years.