Communal lunches are held daily at the far end of the open-plan studio. Sharing company-provided meals with coworkers and visiting clients could easily make one a convert to the dutch way of life.
Entering the offices of Lava Graphic Design in
Amsterdam is a bit like walking into a beehive.
There is an incredible amount of activity that can
seem a bit frantic to the uninitiated outsider. The
constant in the chaos is a daily communal lunch,
an event that brings all other activity to a halt.
Meats, cheeses, fruit, and fresh bread are unceremoniously
arranged on recently cleared tables. Mealtime is a gathering place, and it would be impossible
for one to discern hierarchy by the seating
arrangement or the casual way food is shared.
Visiting clients sit beside Lava interns and designers,
and anyone who happens to stop by the studio
at the appointed time is welcomed with the
offer of a chair and a plate. More than neatly articulated
clichés on the importance of company
employees or good relationships with clients, the
lunches at Lava are proof that the company lives
its philosophy.
A conversation with creative director Paul
Hughes and Lava founder Hans Wolbers makes
it clear that impassioned discussions preceded
their business relationship and that such dialogues
are still an important part of the dynamic
at Lava. Hughes begins, “At its root Lava
is all about storytelling and we have a compelling
story to tell.” To describe Lava’s interest in
pushing designers from the arena of visual stylist
to that of content creator, Wolbers simply states,
“Lava is content-driven design.”
LAVA believes that a magazine should never be predictable: it should have a clear vision and dare to try new things where restyling should be part of a continual process, not something done once every five years.
Armed with his PowerBook, process diagrams, and a healthy dose of design theory,
Hughes has become the public face of Lava. An accomplished orator, Hughes’ enthusiasm is
infectious. He has refined Lava’s philosophy to a set of succinct talking points and is able to
sum up complicated ideas quickly while seamlessly weaving examples of Lava projects into
his narrative. “Lava is about design, design is about communication, design and communication
together equal branding. Creating a brand is about creating a story.”
This comparison between storytelling and
design is fully integrated into Hughes’ breakdown
of the design process. “The most important
thing about storytelling is knowing what
the moral of the story is. This is a concept. The
second most important thing about storytelling
is how you tell the story. This is a craft. Lava
combines collaboration, content, consistency,
change, and craft to create a successful concept.”
Lava designers produce slick, visually attractive
deliverables, but it is the company’s confidence
in its process that is seductive, and one can easily
imagine why Hughes often leaves his pitches
having snagged clients away from Lava’s equally
talented competition.