Matan Fadida

BAYA HOUSE Vol. 2

Industrial, sculptural and made to be used, Matan Fadida’s work found its natural setting at BAYA HOUSE, in a room meant to be played in, not just looked at.

PHOTOGRAPHY: Felix Jackson

Discover Matan Fadida

Matan Fadida is a multidisciplinary designer who recently returned to Tāmaki Makaurau after three years in London, where he worked alongside Martino Gamper and Faye Toogood. Named one of Wallpaper*’s Future Icons in 2024, he started his practice in his parents’ garage, refining an experimental, industrial minimalism made with honest materials. At BAYA HOUSE, guests were invited to settle into the living room and play one of Matan’s own Xbox games, surrounded by pieces he custom designed to match the rug beneath you.

You started making objects in your parents’ garage, and went on to work for Martino Gamper in London. What did working in his studio change about the way you design?

I’m incredibly appreciative of my time at Martino’s studio. It gave me valuable perspective on how an established and experienced designer works and runs a studio. I learnt that design is not only about creating individual pieces, but also about designing the way you work. This includes how ideas are developed, how projects move through the studio, and how you collaborate with the people around you.

What I found particularly interesting was how personal this way of working can be. In Martino’s case, the studio felt shaped around his personality, resulting in a very unique and family-like working environment. Being included gave me the opportunity to experience another designer’s process from the inside, while also encouraging me to consider what kind of system, environment and way of working would best suit my own practice.

You move between a lot of materials and techniques. Do you start with a material, a form or a problem to solve?

I generally start with either a new idea or a problem that needs solving. Often, these “problems” come from client briefs or opportunities I see in the market. A new idea, on the other hand, can come to me spontaneously, and I feel compelled to explore it further.

In both scenarios, the next step is usually determining the form before considering the materials and techniques that could bring it to life. From there, the process becomes about developing and refining that initial instinct into something resolved, without losing what made the idea special in the first place. 

Being named one of Wallpaper*’s Future Icons is recognition most designers only dream of. Has it shifted what you want to make next?

It was definitely an honour and a big highlight in my early career as a designer. But I don’t think it has necessarily shifted what I want to make next. If anything, it was a reminder to keep trusting my intuition and not to overthink things. The chair that was featured in Wallpaper* came about quite spontaneously, which reinforced the value of following an idea when it feels right.

I do think there is always an element of luck involved in receiving exposure like this, being seen by the right person at the right time. But I also believe that through dedication and consistently putting work out into the world, you can create more opportunities for that luck to happen and hopefully tilt it in your favour.

The puffer cushion has an industrial, almost space-age look. What drew you to that form, and how did you get a soft object to hold such a strong shape?

My work has always been drawn towards curves and distinct lines, right from the beginning of my practice, so the Puffer Cushion came about quite organically. 

I first developed the Puffer Ottoman, which I felt was an interesting object in itself, but it wasn’t necessarily an accessible purchase for most people. I wanted to create something that was more commercially approachable, while still feeling interesting and unique to my work. From there, I applied the same technique I had developed for the ottoman to a smaller, more accessible cushion.

Since then, I’ve refined the construction slightly to help the cushion hold its shape better, but the original pattern has remained exactly the same

“Over the years, I’ve made a conscious effort to develop a unique design language. I try to push the boundaries of this language, while still hoping there is a distinct visual thread between my pieces that relates back to my practice.”

You’ve designed a cushion, trays and a chair to go with your BAYA rug. How do you make separate objects feel like they belong to the same family?

Over the years, I’ve made a conscious effort to develop a unique design language. I try to push the boundaries of this language, while still hoping there is a distinct visual thread between my pieces that relates back to my practice. 

I don’t like ideas to feel too forced; in many ways, I think they reveal themselves through experimentation and iteration. Part of the designer’s role is recognising when an idea feels resolved and knowing when to stop. By maintaining this same intuitive approach across my work, I think a natural sense of cohesion has developed between the pieces I create.

Guests can kick back and play one of your favourite Xbox games. Why did you want the room to be used, not just looked at?

I enjoy the idea of creating an experience around my work. What excited me about this event was the opportunity for the public to imagine themselves actually living with my pieces. To physically experience them in a way that isn’t always possible within a traditional exhibition setting. I think that interaction can create a very different understanding of an object.

As much as I want to create products that are aesthetically interesting and sculptural, there still needs to be a fundamental use behind them. I’m interested in that balance, where an object can have a strong presence within a space while still feeling practical and natural to live with. Through this event, I hope that's recognised. 

The Living Room

Rug

Bastion Claret