Designer,KarimRashid-renewal Details
Intro
Class Intro
Designer, Karim Rashid
I want to show you how to successfully develop constructs and intellectualize every step of your design approach to supersede the boundaries of creativity through your work. My class will help you create designs that elevate the human experience through pieces that bring your ideas to life with clarity and purpose.
Unlock the Secrets the Legendary Designer, Karim Rashid
Karim's exceptional originality and prolificacy are proven by his over 4000 designs in production and over 400 prestigious design awards. Discover the secrets to the legendary designer Karim's ability to stay original, creative, and inspired as a designer.
Class Perks
Get These Coloso Exclusives
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Unlimited Access to Karim's Design Master Class -
Real-time Ideation Process of Karim -
Karim's Insightful Tips for Growing Artists
Legendary Designer Karim's Portfolio
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UMBRA Garbino -
3M Pebble Collection for Post-It and Scotch -
ALESSI Kaj Watches
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ARTEMIDE Cadmo floor lamp -
ARTEMIDE Doride floor lamp -
AXO Nafir Pendant Lamp
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FELICE ROSSI Krysalis Couch -
SOFTLINE Pierce Couch -
IDEE Aphex Couch
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KENZO Amour Véronique Durruty -
ISSEY MIYAKE Mother's Day Gift Pack -
ISSEY MIYAKE Pour Hommes 2 in 1
Visionary and prolific, Karim Rashid is one of the most unique voices in design today. With more than 4000 designs in production, over 400 awards to his name, and client work in over 40 countries, Karim’s ability to transcend typology continues to make him a force among designers of his generation. His award-winning designs include democratic objects such as the ubiquitous Garbo waste can and Oh! Chair for Umbra, interiors for Naples University Metro Station, Prizeotel, Temptation Resort, and exhibitions for Corian and Pepsi.
Karim has collaborated with clients to create democratic design for Method and Dirt Devil, furniture for Artemide and Magis, brand identity for Citibank and Hugo Boss, high-tech products for Paul Mitchell and Samsung, and luxury goods for Veuve Clicquot and Swarovski, to name a few. Karim’s work is featured in 20 permanent collections, and he exhibits art in galleries worldwide. Numerous awards and accolades including the American Prize for Design Lifetime Achievement award, Red Dot award, Chicago Athenaeum Good Design award, and Pentaward attest to Karim’s contribution to the world of design. Karim is a frequent guest lecturer at universities and conferences, globally disseminating the importance of design in everyday life.
Journey to Design with Karim
Enrolling in this class offers a transformative journey into the design world through the lens of Karim's philosophy and principles. Understanding Karim's approach provides a profound insight into contemporary design thinking, allowing you to delve deep into the core concepts that drive innovation and creativity.
Through this exploration, you will gain theoretical knowledge and practical skills in conceptualization and form exploration, enabling you to bring your ideas to life with clarity and purpose. Moreover, the emphasis on hands-on design fosters an appreciation for the tactile aspects of creation, grounding you in the tangible essence of your craft.
Get Ready for the Real-World
10+ Case Studies & Insights
Case Study:
Karim's Tabletop Design and with Nambe Studio- Technologies in Design
New technology is introduced every day in the world, and how should designers expand their boundaries by employing the technologies?
Case Study:
Karim's Garbage Can Design with Umbra- Adding Beauty to Banality
Karim highlights the importance of adding design to every object around you. Walk through how Karim came up with the beautiful garbage can.
Case Study:
Things to Consider in Very High Mass Production
What should you consider as a designer in creating a very high mass production? Kairm shares his chair project, sharing the list of things he had to consider.
Real-time Ideation:
Hotel Room- Breaking Conventions
As an artist, it's your responsibility to break conventions to bring more interesting and better things to the world. How can you evolve from convention, and how can we be sure that it's for the better?
Case Study:
Examples of Colors Used in Marketing
Karim emphasizes the importance of colors in design and shares good examples of colors used as marketing strategies.
Case Study:
Condo- Objectivity in Design
Karim emphasizes the importance of objectivity in design. How should you avoid using personal taste and subjective ideas, and why?
Real-time Ideation:
Chairs - Minding User Experience
Karim walks through who is involved in the production and how to make decisions as a designer between them. Learn what Karim considers to create a better world with his design.
Case Study:
Karim's Furniture Design with Vadasiga- Modular, Flexible, and Multifunctional
From where should you build your design? It's different depending on the case. Here, Karim introduces a case where he started his design from keywords: modular, flexible, and multifunctional
Case Study:
Real-time Ideation: Sink- Working with Limited Space
Karim highlights how critical functionality is in design despite our eagerness and passion for originality. Follow the trails of Karim's thoughts in designing a sink, emphasizing simple function.
Case Study:
Karim's Water Bottle Design with Bobble- Design with Responsibility
By sharing his design process, from ideation to production, of Bobble, Karim highlights the importance of designers' responsibility, especially from a sustainability perspective. Learn how his famous design, Bobble, came to life from a small idea.
Case Study:
Karim's Water Bottle Design with Paris Baguette - Working with Concept
Karim's water bottle, "O," started with a concept. What concept was it, and how did it evolve to be what it is now? Discover Karim's behind thoughts for the water bottle, "O."
Case Study:
Karim's Chair Design with Umbra - Democratic Design
Karim shares one of his essential pieces in democratic design, Oh Chair. Democratic design is to be well-designed, engaging, provocative, and inspiring for everybody. Learn how Karim managed to touch everyone's heart with his Oh Chair.
Instructor
Karim Rashid
Designer
Karim stands as a preeminent figure in contemporary design, boasting an extensive portfolio of over 4000 designs and 400 awards spanning 47 countries. His approach defies traditional typologies, focusing instead on capturing the essence of the modern era. From luxury goods for renowned brands like Christofle and Swarovski to democratic products for Umbra and 3M, Karim's versatility is evident. He's left an indelible mark not only in product design but also in interiors, with projects ranging from hospitality spaces like the Radisson Group to public environments like the Universita Metro Station in Naples. Karim's influence extends to retail design, including notable contributions to Fun Factory in Berlin and Munich.
Moreover, Karim's impact on design education and discourse is profound, as he shares his insights as a frequent lecturer and through media platforms like CNN and Vogue. His cultural contributions are showcased in numerous exhibitions and permanent collections worldwide, including prestigious institutions like the Brooklyn Museum of Art and MoMA. Through monographs like "XX" and "Design Your Self," Karim invites audiences into his creative journey, emphasizing the transformative power of design in everyday life. Established in 1992 in New York City, his design studio has evolved into a global enterprise, reflecting his commitment to shaping physical and virtual landscapes while exploring intersections with art, fashion, and music.
Designer, Karim Rashid
[Current]
President @ Karim Rashid Inc.
Projects & Awards
[Awards]
Over 400 Prestigious Awards including:
75 Good Design Awards
15 iF Design Awards
26 Red Dot Design Awards
11 Industrial Design Excellence Awards
14 Pentawards
[Projects]
Over 4000 Designs including:
Semiramis Hotel, Athens
The Morimoto Restaurant, Philadelphia
Nhow Hotel, Berlin
Ottawa's Fun House
Kurve Restaurant, New York
[Publications]
11 publications incliding:
"I Want to Change the World" (2001)
"Digipop" (2005)
"Design Your Self: Rethinking the Way You Live, Love, Work, and Play" (2006)
"KarimSpace: The Interior Design and Architecture of Karim Rashid" (2009)
"Sketch: Karim" (2012)
"Karim Rashid: From the Beginning" (2014)
"Evolution: The Future of Design" (2019)
[Museum Presence]
Permanent Collections of Prestigious Museums around the World including:
Museum of Modern Art (MoMA), New York
Centre Georges Pompidou, Paris
San Francisco Museum of Modern Art (SFMOMA)
The Montreal Museum of Fine Arts
Victoria and Albert Museum, London
[Major Exhibitions]
Numerous Notable Exhibitions Includes:
"Karim Rashid: From the Beginning"
"Karim Rashid: Design Your Life"
"Karim Rashid: Digital Nature"
"I Want to Change the World"
Highlights
Class Highlights
12+ Case Studies with Karim's Step by Step Walkthrough
Karim shares his thoughts behind each case study, connecting to the list of things any artist should consider in their ideation, concept, and production. Discover how the legendary designer Karim came up with his award-winning designs.
Karim's Insightful & Applicable Advice to Young Artists
It's easy to assume that the advice from masters is inspiring but not applicable. But don't worry! Karim's advice shared during the class is not only inspiring and motivational but also practical and actionable, which you could easily apply to your design.
What Does Karim Rashid Inc. Look for in Their Candidates?
Karim reveals the key qualities and skills he seeks in designers for his studio. Join this rare opportunity to gain insights directly from one of the most influential designers of our time, known for his innovative and forward-thinking approach to design.
Class Details
You'll Learn
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Karim's Design Philosophy and VisionUnderstand the core principles that shape Karim's design philosophy and vision. Dive into the importance of Sensual Minimalism, where objects communicate and inspire while remaining minimalistic, and explore how this philosophy drives his creative process. -
Exploration of Form and AestheticsDelve into the significance of form in design and how Karim crafts fluid and dynamic forms that engage the senses. Analyze his use of materials and experiment with various materials to understand their impact on aesthetics, leading to visually appealing designs that resonate with users. -
Color Psychology and Design LanguageExplore the role of color in design psychology and how Karim utilizes vibrant and expressive colors and patterns to tell stories through design. Engage in hands-on color theory activities and learn how to incorporate color as a powerful storytelling element in your own design projects.
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Design Process and CollaborationGain insights into the process of design, from ideation and concept development to prototyping and finalization. Understand the importance of collaboration and teamwork in the design studio, and learn how to effectively manage projects to bring your designs to life. -
Democratizing Design and SustainabilityLearn about the concept of democratic design and how Karim makes design accessible to all, designing for inclusivity and diversity. Explore the intersection of sustainability and technology in contemporary design, showcasing Karim's sustainable design projects and successful technology integration through case studies. -
Career Insights and Building Your BrandWrap up the class with practical advice for aspiring designers, including what qualities and skills Karim looks for in designers. Gain insights into the business side of design and entrepreneurship, and learn how to build your brand as a designer in today's competitive market.
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Curriculum
Class Preview
Check out Karim's Class Preview
Curriculum
In-Depth Look
SECTION 01. OT
01. Orientation
- Introducing Your Instructor
- What You Will Learn
SECTION 02. Designing in the Age of Experience
02. About Karim
- Who is Karim
- Karim's Greatest Successes
- Pluralism
03. Mentors
- Lessons Learned from Mentors
- Colani
- Mendini
- Sottasss
- & More:exploring the philosophies of design pioneers that impacted Karim
SECTION 03. Unearthing Design Inspiration, Process, and Recent Works by Karim
04. Consideration: Karim's Ethos in Design
- Exploration of the emotional and sensory aspects of design.
- Understanding the significance of form in design.
- Deep dive into Karim's approach to creating fluid and dynamic forms.
- Analyzing the use of materials in Karim’s designs
- Experimentation with various materials and their impact on aesthetics
05. Color and pattern as a Design Language
- Analysis of Karim's vibrant and expressive use of color and pattern
- Incorporating color as a storytelling element in design
06. Process of Designing
- Before design
- Ideation & concept development
- To do lists in design process
- What's to finalize your design?
SECTION 04. Karim's Philosiphical Approach to Design: Democratization, Inclusivity, Technology and the Future
07. Democratic Design
- Understanding the concept of democratic design
- Design for all
- Designing for inclusivity and diversity
08. Designing for the Future
- Discussion on the importance of sustainability in contemporary design.
- Showcasing Karim's sustainable design projects.
- Examining the intersection of technology and design.
SECTION 05. Design in Business
09. Project Realization and Design Entrepreneurship
- Insights into the business side of design and entrepreneurship
- Collaboration with clients
10. About the KRINC Studio
- Introduction to KRINC Studio
- How the KRINC studio works
- How projects are managed and executed
- What qualities Karim looks for in designers?
SECTION 06. Outro
11. Final Thoughts
- What makes a great designer
- Practical real-world advice for designers
- Building your brand as a designer
*The release date of this class, curriculum images, and associated content can be changed without prior notice.
** Class videos may be seperated for a more streamlined viewing experience
Interview with
Designer Karim Rashid
Question.01
Could you please share how you started your journey in the industry?
I was confused as a teenager of what profession I would go into. I had accelerated high school, so I was 16 when applying to university and was torn between architecture, fine art, and fashion. I originally applied to study architecture at Carleton in august so I much too late and the program was full. They told me they could accept me in the 'architectural stream' of Industrial Design. So, I went to Carleton university expecting to study architecture, but fate had it, that the second I took some industrial design courses, I knew that it is what I wanted to do. I assumed that one had to be an architect to design a chair or coffee machine or a product. I loved the Italian product design landscape and all those products that I admired for years that were in our house were designed by architects. In fact, Italy did not have an industrial design school until 1984. The Carleton program was only in its's second year so in turn, and not enough faculty or courses in industrial design, so the greatest experience I had was to study engineering, architecture, philosophy, languages, and have such a broad diversity of courses. I have concluded teaching for so many years that a designer needs a broader experience, and in fact, I believe that design should really be only taught in graduate school.
After college I went to a one-year graduate program in industrial design in Italy studying with Gaetano Pesce and Ettore Sottsass. Sottsass taught me that there are many beautiful design objects, but that you have to ask what they do for us? In the sense of human, inspiring objects, Memphis was a revelation and a turning point in design. There are many imposing design objects who need to stand by themselves to impress. I always ask myself, what is left, if you take the design away? If it’s style, it is a thing of the past. I define design as embracing contemporary criteria to shape the future, not being derivative of the past
Later on I was a part-time professor in Toronto at OCAD in interior design and taught furniture design at university of Toronto school of Architecture. Then I recived a full-time assistant professorship at the Rhode Island school of Design (RISD). I was going to quit the design profession and become academic since at this point I fet very uninspired. But in 1992 when I was fired from RISD because I was told I was teaching ‘philosophy and theory’, not design, I decided to get back into the profession. I loved academia but I'm grateful to have been let go because it prompted me to start my own firm in NY in 1993.
My career really started in 1993 (when I was 33) when I moved to New York City. I was penniless in NY but started drawing objects romanticizing the beautiful world I always wanted to shape. I found a rundown loft without a kitchen or bathroom and struggled to survive. After approaching about 100 companies from Lazy boy to Gillette, I only got one client. And I started teaching at Pratt Institute and worked alone for a few years before hiring some staff. I was determined to create a successful practice. That was 30 years ago!
After college I went to a one-year graduate program in industrial design in Italy studying with Gaetano Pesce and Ettore Sottsass. Sottsass taught me that there are many beautiful design objects, but that you have to ask what they do for us? In the sense of human, inspiring objects, Memphis was a revelation and a turning point in design. There are many imposing design objects who need to stand by themselves to impress. I always ask myself, what is left, if you take the design away? If it’s style, it is a thing of the past. I define design as embracing contemporary criteria to shape the future, not being derivative of the past
Later on I was a part-time professor in Toronto at OCAD in interior design and taught furniture design at university of Toronto school of Architecture. Then I recived a full-time assistant professorship at the Rhode Island school of Design (RISD). I was going to quit the design profession and become academic since at this point I fet very uninspired. But in 1992 when I was fired from RISD because I was told I was teaching ‘philosophy and theory’, not design, I decided to get back into the profession. I loved academia but I'm grateful to have been let go because it prompted me to start my own firm in NY in 1993.
My career really started in 1993 (when I was 33) when I moved to New York City. I was penniless in NY but started drawing objects romanticizing the beautiful world I always wanted to shape. I found a rundown loft without a kitchen or bathroom and struggled to survive. After approaching about 100 companies from Lazy boy to Gillette, I only got one client. And I started teaching at Pratt Institute and worked alone for a few years before hiring some staff. I was determined to create a successful practice. That was 30 years ago!
Question.02
What are some "to-go" or "must-have" tools in your industry, and why?
A standout portfolio, showcasing a clear design process, technical proficiency, unique form factor, and innovation are essential for consideration. We mostly work with digital tools and prototyping in the studio, therefore the making skills are not as essential to us. Candidates should also submit a formal cover letter that explains their understanding of Karim's design philosophy and reasoning for why they would be a good fit for our team.
Aside from the tool, if I have to choose one trait you must have as a designer to success in the industry, it's originality. We are all original with unique fingerprints and DNA. So, if we are original then we are all capable of contributing originality to this world. For young designers I always give the advice: Be smart, be patient, learn to learn, learn to be really practical but imbue poetics, aesthetics, and new paradigms of our changing product landscape. You must find new languages, new semantics, new aesthetics, experiment with new material, and behavioral approaches. Also, always remember obvious HUMAN issues in the product like Emotion, ease of use, technological advances, product methods, humor, and meaning and a positive energetic and proud spirit in the product.
Aside from the tool, if I have to choose one trait you must have as a designer to success in the industry, it's originality. We are all original with unique fingerprints and DNA. So, if we are original then we are all capable of contributing originality to this world. For young designers I always give the advice: Be smart, be patient, learn to learn, learn to be really practical but imbue poetics, aesthetics, and new paradigms of our changing product landscape. You must find new languages, new semantics, new aesthetics, experiment with new material, and behavioral approaches. Also, always remember obvious HUMAN issues in the product like Emotion, ease of use, technological advances, product methods, humor, and meaning and a positive energetic and proud spirit in the product.
Question.03
Please share your thoughts on the industry's job market and what you see in the industry's future.
I am perplexed by the digital age. The digital age affords us to be exposed to everything and to empower creativity and individuality, yet I am observing singular global trends. There is a lack of diversity and differences we historically had with different countries, nationalities, and cultures.
Something I would like to share with you though, is that in design, each project has different criteria. Each project has different production techniques, materials, and processes. But with all projects, it is imperative that everything functions well. Everything we design is for a better human experience so for example, a chair must be comfortable, there are no excuses for products today that do not meet our needs and desires. So regardless of the poetics, the emotional, factor, the aesthetics, the communication, objects must work seamlessly in our daily lives. Spaces must do the same.
Something I would like to share with you though, is that in design, each project has different criteria. Each project has different production techniques, materials, and processes. But with all projects, it is imperative that everything functions well. Everything we design is for a better human experience so for example, a chair must be comfortable, there are no excuses for products today that do not meet our needs and desires. So regardless of the poetics, the emotional, factor, the aesthetics, the communication, objects must work seamlessly in our daily lives. Spaces must do the same.
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