In Conversation with Designer René Odermatt

René, how did you get involved in designing urns?

I have been working as a self-employed designer for almost ten years. Basically, I am open to a wide variety of commissions, as long as they resonate with me. However, I have always found the topic of urns particularly exciting – especially because I am very interested in the diverse cultural ways of dealing with death and farewell.
When Katharina and Sebastian from Farvel contacted me, I was immediately enthusiastic about their idea.

What do you associate with an urn, and what emotions does it evoke in you?

Conceptually, an urn stands for farewell and transience, but emotionally, above all, for remembrance and appreciation. It gives loss a place and helps to give form to memory.

Farvel urns break with classic forms. What bothered you or what attracted you to the classic form of an urn?

What I noticed is that many classic urns are made of dark solid wood and are often complemented by metals such as copper or brass. I have no fundamental objection to that – many of these designs are quite okay, but they tend to appear rather heavy. I therefore believe that there is still room for new, lighter approaches to make the design language a bit more modern, fresh, and diverse.

“The urn is somehow the last house you inhabit on this earth.” (René)

Do material, sustainability, or durability play a special role in your design?

Yes, absolutely. The search for the right material took a lot of time. It had to be ecologically harmless when placed in the earth, made of renewable resources, remain stable in the home, but also decompose in the soil – and also be 3D-printable. For this process, we found a great partner who supported us.

Have you received any feedback on your work that you would like to share?

I have received very diverse positive feedback on the series. Especially with the Minka urn, the association with East Asian architecture was repeatedly mentioned – a comparison that I like very much.

How did your design process begin – with an idea, a material, or an emotion?

My work always begins with a precise understanding of the subject area, the team, and – in this case, especially – the people involved. Building on this, we discussed different materials, processes, and initial rough concepts within the team and ultimately consciously decided on 3D printing.

“I wish that people feel a moment of peace and appreciation when they see one of my urns.” (René)

Death is often a taboo subject in our society. How do you feel about it, and has your work on the Farvel urns changed that in any way?

I can relate to that from personal experience. Farewells are not always positive, especially when they come unexpectedly. I believe that in our society, we can only achieve a more relaxed approach to death through openness and many small steps. I hope that the Farvel urns will make a small contribution to making the farewell process a little easier and perhaps even giving it a more positive, comforting note.

What do you wish people would feel or think when they see a Farvel urn?

I wish that people feel a moment of peace and appreciation when they see one of my urns. That they see farewell not only as a loss but also as an opportunity to preserve memories and feel closeness. The urn should create space – for personal thoughts, feelings, and memories – and perhaps give a small feeling of comfort.

What are you currently working on, and is it likely that we will see another urn from you?

Currently, I am once again focusing on electronic devices – a radio that should be intuitive, haptic, and playful to operate, and the second generation of an elderly emergency call device for CARU AG in Zurich. I don't know if there will be another urn from me. What I can say for sure, however, is that I would work with the Farvel team again anytime. The collaboration was inspiring, and the idea of co-creating such a sensitive moment in people's lives remains something that deeply touched me.

René Odermatt
Product Designer from Zurich, Switzerland