Slightly different approach in this one. Rather than focusing on a specific object/product, the idea was to give a bit more insight into Rotenda himself. A critical contributor to Benjamin Edgar for the past 4 years, a renowned industrial designer - currently at Rolls Royce, an incredible thinker, and one of the rare talents that spends as much effort on the technical side of design as they do the emotional side of design. It's been a true honor to work alongside and develop a deep friendship with Rotenda over the past 4 years. This interview serves as a small peek into his world, approach to design, and life.

  - Ben Edgar


BEN—This is really prompted by two things. First, for as much as you and I talk, I don’t think we’ve ever kind of looked back/into how we met, how it came together, etc and that’s often worth doing from time to time. Second, we’ve done two of these extended exchanges and you’ve contributed to multiple Benjamin Edgar projects and we’ve never really explained you/your background etc. So, first questions: Where are you right now? What time is it? How’s the weather?

ROTENDA—Germany, Munich - 07:48 am. Chilly weather, it’s 2 degrees Celsius at the moment - we had snow a couple of days ago.

BEN—I don’t really love the “tell us a bit about yourself” question in interviews. Especially being asked it. Perhaps a more simple setup, can you tell us where you’re from and why art/design is the direction in life you’ve selected and perhaps how you arrived there?

ROTENDA—I’m from South Africa, born and raised there. My upbringing instilled in me an appetite for new knowledge and experiences at an early age. I drew a lot when I was a kid. Say at 13 years of age, I started taking it seriously - and by that I mean drawing more cars and portraits on the back side of my school book in high school [Laughter]. That was Fun! When I started tearing off the drawn pages, pasting them on walls at home and carrying a sleeved flip file everyday to school - I knew I would not have a problem enjoying doing it for the next years. It’s a mix of curiosity and discovery that got me here. 

BEN—When did we first meet? I remember the first couple Zoom calls, but can’t recall the exact timing. 

ROTENDA—It was late 2020. Phew! Feels like it was just yesterday! I was set to join Ford in the start of 2021 that time, deep into reading The Brilliance (which to be was cultural studies), I was struck by you quoting a Ford Focus in one of your interviews there ha - and we locked in from there!

BEN—You have very serious formal education at Tshwane University of Technology and then Royal College of Art. The conversation of formal education comes up fairly often in the design world as it seems to reward both the formally educated and the self-taught almost without regard. Is that a fair statement? What role do you think formal education plays in your life and the design industry at large?

ROTENDA—This is a great question and a fair statement. My journey very much is one grounded by formal education - born in a household of educators, education was important. Formal design education governed me, where I saw my “classes” or just being in the studio as a practice ground. I guess it’s not far from a musician in the studio. My undergraduate Industrial design studies were a great entry point for guidance in learning how to put articulate ideas. It is here where I learnt about a design process, material technologies/processes, how things are made, why they’re made etc. It was not conceptual at all, but real life. My postgraduate at the Royal College of Art was in Intelligent Mobility (previously known as Vehicle Design) - was an early goal set respecting college’s history and the greats who’ve practiced there. You know, to my surprise, the educational system was very formulated for independence. We received briefs and met deadlines (which turns to be how it is in the industry). Oh, and it was very conceptual too! I’d say 80% design thinking and 20% skills. In my life I grew to see it complement both sides of design - sharpened my mind to see in conceptual perspectives and keep practicing in communicating them with my hands. I carry the same process today in the design industry. With intension of what one wishes to receive out of practicing in formal design education, I think the benefit of it is access, to what you may not have outside being formal training.

BEN—Cars. You’ve worked with Ford, Jaguar/Land Rover, and are now at Rolls Royce. Almost have to pause after typing that, what a career so far. Why cars?

ROTENDA—[Laughter] Cars! It’s a funny one because I still struggle with picking my 4 best cars! [Laughter]. Cars because they’re emotional moving objects narrating a big part of cultural & social conversations. What a range of materials! How would touching this make you feel? How does that feeling change over time? Moreover, how do materials and colours inform the creation of meaningful experiences, for both functional and emotional longevity. It is for these questions and both the problem solving and creative thinking involved in the process that drew me into participating in the  conversation of designing them. 

BEN—Hard to say this without feeling arrogant [Laughter] - but why ask me for advice or insight? What about the “Ben Edgar” approach, if there even is one, felt worthwhile to you? Noting how different and honestly quite random my work is as compared to the automotive and formal industrial design world.

ROTENDA—Quite the note at the end because I reached out to you over an advice in the role I was taking up with Ford. What’s interesting here is that I read about you and hear you speak in every video I could find on YouTube, the one you did with IN__SIGHT is one of my favorites. Seeming like a crash course behind a screen, one could never have enough knowledge - knowing that I know that I know nothing. I landed to those videos because as was at the “design library” [laughter]. Thereafter seeing your work, I was drawn by the approach of “seeing things differently” … and the element of play which you tell, instantly felt like the “Ben Edgar” spirit running across all the work you’ve done. I think this is where the randomness lives in. I was inspired first (with huge respect of what you have achieved), and carried with me the willingness to learn from you… it was just mutual to be a student of the world we connected via.

BEN—I find our collaborative process to be uncanny in how smooth it is. At times of a bit of a mind-meld almost [Laughter]. Though our personal styles, even cars that grab out attention, are fairly different. Which I find to be quite helpful. What do you think defines a good collaboration?

ROTENDA—I think it’s reciprocal intention in the process. I find that this two-way exchange fosters mutual respect and co-creation, ensuring that the design outcome reflects a balance of diverse perspectives. We do spend a lot of times talking about off-project (not-related to) references or design/culture/art through the process of a project before even designing it. I do think “exchanges” are an important element of a good collaboration. [Laughter] we should talk more about music! 

BEN—Any specific project, object, detail that comes to mind as a favorite? I’d have to say, specifically, the chamfers and overall proportions of the Knock Cardholder. Also that “container” we’ve been tinkering on for almost 3 years at this point…

ROTENDA—The container! That needs to exist! For a small hardware piece, the refinements we did may have to be beyond any object we did. The “Me vs Me” Self Portrait Vase stands out. For its emotive delivery which can be experienced in different occasions. There’s meaning in it and it creates meaningful moments. How can I not mention the process of creating it?! It was quite a manufacturing study.

BEN—We’re starting to explore the context in which the objects will be shown. Designing spaces. This has been incredibly mind-expanding, and honestly challenging, for me at times. When you’re designing something, anything smaller than say a 1 meter cube, how early in the process are you thinking of the space it will be shown in? 

ROTENDA—Spaces. That consideration I believe it’s relevant right from the start - it ultimately shapes the design choices in the process. Whether that’s form, materials, or detailing, it all shapes how that object will be perceived in the place it occupies. It’s an interesting one when objects are larger. Using a car as an example , more layers are added in consideration… ergonomics, product semantics, user experience, safety etc. In designing spaces, I think we’ll ourselves carrying some of these and more consideration in delivering an experience - to experience things…

BEN—Feels like I’d be missing something if I didn’t bring up our recent trip in Los Angeles to Singer Vehicle Design you were so gracious to organize and invite me along for.  I won’t imply that you feel this way, but for me it was one of the more “pinacle” experiences in regard to design. I’ve never had to tour their factory and process. “Everything is important” is their motto and my goodness, they live by it. Is what they make design or art?

ROTENDA—What a trip that was! Great hosts and so are their cars. Design or Art. I find this one difficult to distinguish. A lot of what we experienced, I’d be curious on how it felt for you, but it as a lot about “expression”. Both of the craftspeople and the clients they’re for - in such a balanced way. Dressing characters on similar foundations but the final piece being nothing like the other next to it. Almost feeling like walking into a room of personalities. Perhaps it’s art via a design process. [Sigh] 

BEN—Your portfolio, both personal work and professional, is really quite staggering in scale, seriously. I remember first seeing some of your sketch work, your painting pieces, the new ink work you’re doing, and the brass oil burners you designed and had made. That’s really just scratching the surface.  As of late, you’ve been really dialing in on the black ink figure works. (Shown below.) Can you talk about the process of creating them?

ROTENDA—How these came to life was a process of experimentation. Exploring via subjects. The ink which I’ve now been exploring as a painting medium, has brought this sense of freedom. I can second that to the fact of painting on bigger base than I did previously. This series particularly was one of an organic communication with myself. In the morning of the before my flight to Los Angeles, immediately off my bed - I said I need to paint something right now. Set-up some pages, ready the Krinks and started. In painting figures, I often start with the face but with these, the body was the start. Wrapping towards the head, striking a circle over the head, the Afro figures became a theme. I in very little time produced 4 more pieces that morning. Laid them on the floor and I sent you a photo immediately - and we spoke about the imaginative approach, and how it felt incredibly freeing. In soul and process. It wasn’t later meditating over them that it dawned to me that the “freedom” in the pieces was grounded in a conversation I was having from a perspective of personal experience, delving into the resilience and identity of individuals shaped by forces of societal erosion. The process led to a celebration where the Afro figures stood as an emblem of heritage, pride, and individuality. I think the Afro will be a theme I carry further. 

BEN—And something I’m personally interested in, can you talk about your approach to sharing/exhibiting them?

ROTENDA—I have to sigh a little here. When I showed you an archive of drawings/sketches/paintings, you were almost surprised they’re not living out there. Seen. Now in the process of a website where these pieces get to be celebrated, a selection of a pieces will go live and I will be archiving more pieces in progress and incoming. Hard not to throw Instagram there - but on my account I will also get to extend the conversation about them. However, the new website is where they will live. [Laughter] Do I throw the domain out there whilst still under construction? 

BEN—What’s next for you? What’s next for the design world at large? How will things look in 30 years? How will things be made in 30 years?

ROTENDA—What’s next!? For me; Fine Art, neckerchiefs, a bookmark, tea candle holder… perhaps that tasting slate… etc. Full hard drive of exchanges we’ve had. Creating a place for these artistic expressions to live and exist. Evolving as an artist and designer, exploring the synergy between technology & tradition and deepen my engagement with meaningful themes like individuality, resilience, and hidden layers in human identity. Expanding my artistic voice through series like Melting Bodies and What Remains After the Erosion, paving the way for more storytelling, merging my skills as a designer and an artist to challenge perceptions.

And design at large; I think the design world is moving toward greater integration of intelligence, sustainability, and human-centric innovation. Designers are increasingly expected to act as problem solvers across disciplines, addressing issues like climate change, ethical manufacturing, and inclusivity in design. The narrative focus looks to be shifting from creating objects to creating experiences and systems that foster connection and wellbeing.

How things will look in 30 years…. Phew! Had to put on my conceptual hat on for it. I think design will likely embrace a seamless blend of physical and digital realities. Smart environments, adaptive materials, and immersive virtual spaces could redefine how we interact with objects and architecture. Culture and technology will intersect even more deeply, with designs becoming hyper-personalized, reflecting individual identities and global collaboration.

Advanced 3D printing, AI-driven fabrication processes and localized production hubs. I think these will be interesting conversations in how we manufacture. 

Fascinating futures, requiring a conscious effort to balance technological progress with humanity’s deeper emotional and cultural needs.