Wednesday, 20 May 2009 13:42

Ropeshelf-LASZLO ROZSNOKI

Featured at Designersblock during the Milan design week was Ropeshelf – a bookcase where the usual solid, horizontal shelves are replaced by flexible, slanted ones consisting of layers of rope (around 750m) fastened to a frame. Except for its frame, Ropeshelf has no horizontal or vertical lines, just falling and rising diagonals. The resulting storage compartments are a variety of shaped spaces. Ropeshelf can be used as a bookcase, storage for other objects like clothes or even as a room divider. Built to order, it can be made with different sized frames and different patterns of rope inside depending on the requirements of the specifier.

 

www.rozsnoki.com

Published in Shelving & Storage
Friday, 18 July 2008 13:24

In praise of the everyday

It might seem strange, but in the riot of competing egos and jostling brands that constituted this year’s Milan furniture fair, it wasn’t an aeroplane made from mosaic tiles by Jaime Hayon or Marijn van der Poll’s office desk that looked like a jet-fighter that stood out for me, but an undemonstrative 1950s-style cafe chair.  Rather unusually during a week in which one feels the need to be in perpetual motion, moving from launch to launch, cocktail party to cocktail party, Vitra’s Basel chair made me stop and think.Designed by Jasper Morrison, it is hugely elegant and surprisingly comfortable. But it also raised a couple of questions about the industry as a whole. If it hadn’t been on the Vitra stand and if Morrison hadn’t designed it, would I have even seen it? Should one expect more from a cutting-edge manufacturer and a world-renowned designer than a simple cafe chair? And what exactly is the role of the designer in a piece as familiar as this?I have to confess to chewing it over for several weeks before finally concluding that this is exactly what design should be doing. It doesn’t need to ostentatiously reinvent form, or be laced with wit, and it certainly isn’t required to work in the same manner as the fashion world. It can just make familiar objects a little better. “It was partly a correction on my part, having done the Air Chair for Magis in plastic in occasionally fairly strong colours without really considering what the effect would be if a cafe put 40 of them on the pavement,” explains Morrison in his quiet, deliberate way, as we chat in his east London studio. “It coincided with the Super Normal project and just looking at what design does these days – in a lot of cases it pollutes our environment. And projects such as the Air Chair in the colours I originally chose were part of that problem. They may be helping the restaurant to get noticed, but that is completely wrong. It is the wrong function for design.” As a mea culpa goes, this is fairly extraordinary. But, it transpires, Morrison is not finished quite yet. “I would much rather sit in a cafe that had lots of old wooden chairs than in a designer cafe,” he adds. “And I don’t know many designers who would disagree with that.” So does he regret designing the Air Chair in the first place? “I regret the colours,” he replies. And what about the rest of his extensive portfolio? Are there pieces he wishes he hadn’t created? “Well, in some cases, yes. But I didn’t have that realisation then. Now I see much more clearly what my role should be. It doesn’t mean objects have to become boring, but it means we should consider where they are likely to end up.” Now it’s probably worth pointing out at this stage that these revelations come towards the end of an interview notable for its Pinter-esque pauses. Morrison is famously shy – so much so he has been known to deliver lectures in silence – meaning everything he says is measured and cuts straight to the point. Rather like his work, he is not someone to indulge in verbal flourishes, and until you get used to his style, it is ever-so-slightly disconcerting. Born in London in 1959, Morrison wasn’t surrounded by contemporary design as a child. “There was Habitat,” he says. “To see a modern interior was pretty rare, but there were some. My grandfather had one modern interior in his house that was filled with Danish furniture, so there were influences like that.” Tinkering with becoming an architect or an engineer, it was a visit to an Eileen Gray exhibition at the V&A that opened his eyes to design, leading him to study first at Kingston and subsequently, in 1982, at the Royal College of Art. It wasn’t an obvious career decision, as modern design at that time didn’t enjoy the profile it does now. The fact that he succeeded so spectacularly suggests there is plenty of steel behind Morrison’s reticent exterior. He was certainly aware that to make a go of running his own studio, his horizons had to extend beyond the UK. “Whatever there was in England, I wasn’t looking at it,” recalls Morrison. “I was much more concerned with what was happening in Italy. To me, that made much more sense.” Picked up by manufacturers such as SCP in the UK, the ironmongery firm FSB in Germany and, importantly, Cappellini in Italy, Morrison’s profile grew to such an extent that he was even invited to design the Hanover tram in 1995. Other products he has been behind include kitchen appliances for Rowenta, a bathroom range for Ideal Standard, lighting for Flos and a host of products for Vitra, including the ATM desk system. Most have been characterised by a sense of reduction, boiling the object in question down to its bare, but usually beautiful, essentials. The results of his recent “realisation” can be seen at the Vitra Store in New York, having also made stops in Tokyo and London. The Super Normal exhibition that Morrison curated with Japanese product designer Naoto Fukasawa is probably best viewed as a reaction against the current bloated state of the design industry and its obsession with superstar designers. “From my point of view, it is a product of who we are designing for,” he says. “Are we designing for the media or are we designing for the user? I think designers have lost sight of who they are designing for and the media seeks out the more sensational aspects of design. They are, in a way, distorting the profession. The emphasis is too much on the visual and the sensational. That is not what makes a good object – you want the whole story.” The exhibition seeks to redress the balance by showing 200 everyday products – ranging from a plastic bucket to a potato peeler to Dieter Rams’ 606 shelving system – that aren’t attempting to reinvent the wheel, but instead do their job quietly and effectively, while being a pleasure to have around. This isn’t about design trying to ape art or act as some kind of crutch to a company’s marketing department – it is a celebration of industrial design for industrial design’s sake and, as a result, is rather refreshing. The idea for Super Normal germinated as Morrison was designing a set of cutlery for Alessi. “I have been designing things for a long time and looking with an eye as to what works in real life, rather than just trying to make things that look good,” he says. “In the course of looking, I started to realise that a lot of objects probably best described as ordinary worked better than most designed objects. And that kind of intrigued me. I started to learn a lot from more ordinary objects and I tried to use them as a gauge of what I was doing.” This new outlook has proved more than a little controversial. In 2006, the Crate – a bedside table Morrison designed for British manufacturer Established & Sons that looked, well, just like a crate – drew stinging criticism. Did he realise it would cause such a storm? “Not at all,” he says. “No, that was a surprise, but a good one, I think. I have never really looked to cause controversy, but I have to say I quite enjoyed it.” The idea came because Morrison had been using an old wine crate next to his bed when Established came to him. “I just looked at it and thought it was a great solution to a bedside table – I’d be happy with that.” However, even he admits to initial reservations. “Before I showed it to them, I was anxious that they might think I was joking,” he says. “But I explained my thinking and they liked it. What astonished me was that in the same year, someone [Ron Arad and Issey Miyake, if we’re naming names] designed a chair that could be worn as clothes and people weren’t outraged by that. I think it was a really big misunderstanding on most people’s part. They thought it was a cynical project, but it wasn’t at all. It was just my way of showing that design can come from anywhere. It can come from experience, it can come from chance, it can come from observation, or it can come from just plain good luck.” Part of the reason it attracted such barbs, I proffer, was down to his choice of manufacturer. Established & Sons, after all, is acutely aware of the value of good marketing. It’s a company that throws the biggest and most glamorous parties and, arguably, pioneered the hugely lucrative and wildly over-hyped design/art market. The thinking behind the Crate was always likely to get lost in the surrounding hyperbole, wasn’t it? “I don’t think that the size of the party makes the object controversial,” he rebuts politely. “At that point, it was just part of an exhibition. People didn’t read the story. If they had read the pamphlet, they would have understood the project.” Maybe. Whatever, the following year, he exhibited a stubborn streak and came up with a bunch of products based on the Crate’s original concept, to a much warmer critical response. “I decided to be annoying,” he says with a half-smile. “Again as a project, I think it’s interesting. Part of design is being economical with every aspect. Economical with materials, economical with process but also conceptually economical.” Ah yes, but what about when the manufacturer decides to turn your economical crate into a one-off marble sculpture and stick it on a 20-foot plinth as Established & Sons did at the London Design Festival last year? “Well, that was a bit more them than me,” he answers with a bit of a shrug, before adding: “I thought it looked quite nice, actually.” But this is hardly Super Normal. Didn’t he feel a little awkward seeing it up there?. “Not really,” says Morrison. “I think that if it’s a limited edition, or in the case of the marble piece, a one-off, then it is pretty harmless. They wanted to do a show where they did everything in marble. It would have been mean spirited of me if I had said no. I don’t like being uptight about things. It is very easy to be over-protective of your work, or your way of working, and I think that’s a mistake.” Morrison is certainly not above dabbling in the editions market, making pieces for the likes of Vitra and Galerie Kreo in Paris. “It is pretty different,” he confesses. “It’s design for a different situation, really, not for everyone, for sure. I like doing it because it’s a freedom from all the constraints that you have as a designer when you are considering how to make something in volume, and that is really nice.” That said, he admits he resisted dipping his toe in for a long time, “because as a young designer, your goal is manufacturing and volume, and I focused on that. When you achieve that, I think that is reasonable.” You get the distinct impression that having done the hard slog, the art market becomes, in effect, the designer’s pension plan – a lucrative opportunity to have some fun. This is absolutely understandable, although it would be remiss not to point out that design/art bears some responsibility for distorting the industry, encouraging the established star system, celebrating form over content and providing students with a model that, one suspects, will prove to be unsustainable. In fact, all the stuff Super Normal is supposed to stand against. But then I get the impression that Morrison is too open-minded – too polite, even – to be a true zealot. As he points out: “Having spent many years constraining myself and rejecting everything apart from what I thought design should be, I think I am much more open than I used to be. I am quite interested in contradictions as a way of keeping my work alive. If you refuse to consider things, you end up running out of steam on what you’re doing.” Certainly the Basel chair suggests that he has enough steam to quietly rattle a few cages for years to come.

Published in Profiles
Thursday, 06 March 2008 16:17

Nail Hook-CAUSAS EXTERNAS

Working together to produce a set of objects with a common theme, Causas Externas is a collaboration of three young designers from Barcelona. The group of objects are on the borderline of interior and exterior. Starting from the observation of the urban environment, Causas Externas’ aim is to domesticate exterior elements. For example, Nail Hook, as seen here,has been inspired by the use of nails as coat hooks by workers in construction sites. Each Nail Hook is made from porcelain and comes with a metallic wall fixing.

 

www.causasexternas.com

Published in Accessories
Wednesday, 06 February 2008 15:55

Easy.Storage - B LINE

Designed by Matthias Demacker is this flexible, lightweight filing system. Called Easy.Storage, the unit is composed of a varnished steel back panel and removable frosted plexiglas trays.

Once the back panel has been installed at the desired height, the shelves are connected by simply hooking them on, offering a new way of storing objects in the home and office.

With just one simple movement, the shelves become trays ideal for carrying things in and it also provides convenient support for electronic devices as cables are concealed inside the back panel.

www.b-line.it

Published in Shelving & Storage
Monday, 09 April 2007 19:00

Light and Breezy

Light_BreezyWords by Kerstin Zumstein Monica Förster is one of Sweden’s most celebrated designers, and in the last five years she has risen to international fame with clients such as Poltrona Frau and Tacchini. Kerstin Zumstein catches up with the designer at the Stockholm furniture fair to get a glimpse of her newest products.

“My designs are light,” says Monica Förster, sliding into Spoon, her new easy chair for Offect. She is wearing a short black dress, with comfy boots and a funky necklace, her nails painted black. There’s a healthy radiance about her. “I like to design things that seem to float,” she adds. There we go, that’s her current design aesthetic in a nutshell. Spoon is nimble – an all-rounder, it can be placed in reception areas, lobbies or hotel bars. The body of the chair is like a drop of fluid, forming naturally, then being supported by an obligatory frame to hold the seat, as thin as it can be.

Förster’s first designs, which shot her into the limelight in 1999, had a certain loudness about them (her early projects for Swedish company David design, like the Silikon lamp or the soft Bob sofa poufs, got her into every Swedish newspaper). Big and bold objects were her thing then, while today her design has a lighter quality. “Yes, I used to design strong things, but now I like subtle forms. I think it’s far more difficult to design something that looks striking but still can fit anywhere with anything. After all, it’s not as if my product is the only item that will be placed in a room – people don’t live or work in showrooms. So it’s vital and challenging to design a product that fits without taking over.”

For Förster, that’s exactly what Spoon does. It fits anywhere – like blobs dotting a room. “I love the material too. There’s a certain warmth to these three-dimensional fabrics.” The colours on display are natural, autumnal colours of green, brown and grey. “I like these colours, although the shades the chair comes in are Offect’s choice. I used to use very bright colours but I think that trend is over now. You’ll find more natural tones around at the show here,’’ she says, looking around. “Nonetheless, I see Spoon positioned in a room with a powerful pink cushion in it.” The chair as the accessory for the cushion, not the other way round.

Her latest product for Tacchini, Glide, is completely different. The prototype of this chair was shown last year at Milan, with the production version lined up for this year’s show. “Glide is far more extreme,” Förster explains. “It takes more energy out of the room.” But it’s a true Tacchini piece. “I try to adjust to the different companies I work with. Of course I have my own style, otherwise companies wouldn’t want to work with me. But I like to feel the soul of a company, and create in accordance with that.”

She made use of the new vacuum technique to create this object without any seams. The Glide chair has a movement that “recalls the fluid transformation of the elements and the coexistence of different states, through the use of soft and enveloping forms”. Förster has also designed a new sofa for Tacchini called Pinstripe. It’s highly versatile and can be moved into different configurations, with the lines creating new dynamic patterns every time the sofa is arranged differently. Her newest Tacchini product, however, is the Kimono table, unseen in the UK so far, which will be launched at Milan’s furniture fair in April. The round glass tabletop rests on what looks like a three-pronged propeller, again evoking a sense of movement.

Indeed movement is the quintessential motif in Förster’s work. She has described the Glide chair as a transition “when the Artic ice and snow start to melt in the spring and slowly turn into water”. Likewise about her Breeze table for Swedish firm Swedese, launched this year in Stockholm, she tells me: “I came up with the tabletop form by imagining that moment when you look out onto the water and the wind comes, those waves that follow, that natural movement, that’s the effect I’m looking for.” We look at the beautifully curved wave at the side of this round coffee table. “Maybe also water lilies it looks like a water lily, doesn’t it?”

Förster is opposed to referring to her style as organic, but feels the company ethos of Swedese, with its eco products and forest-themed stand, led her to design such a nature-inspired object. “Ideally, I’d like my objects to float in the room,” Förster says. “Like the Breeze table, I wish I could get rid of the legs – that’s why they are as thin as engineering permits.” This lightness and the aspiration to design floating objects may sound impossible, but when Förster told me about her Mirage exhibition in downtown Stockholm, I was more convinced.

Every year, in conjunction with the Stockholm furniture fair, Förster puts on a non-commercial show of her work, “to give something back,” she explains, “give the onlooker an experience they won’t forget.” This year she installed Flame, produced by Design House Stockholm in 2007: a burning flame seemingly floating in mid air in a black darkened room. Ultimately, it’s an illusion. Two curved mirrors reflect the light of the actual flame above a black oil lamp, using a method based on the theory behind Hubble’s telescope. If you go to touch, you realise it’s not actually there, and while you may see it, the person next to you may not. Magic!

“It’s fun. I see myself as an industrial designer who focuses on furniture and objects. I’m also very interested in architecture [see Förster’s inflatable room Cloud for Offect, 2003], I guess I’d design anything.” Even though she wants to continue with what she’s doing, her ambition is to collaborate with more architectural projects. “Also, I’d like my company to grow,” she says. Many designers talk about wanting to keep their studios small (see our PearsonLloyd cover story this month, or the Sevil Peach cover story, onoffice 04), but Förster says: “No, I like having people around me. Currently it’s only me and my two assistants, but the best thing about my projects is working with all these people. A design process is always about collaboration.”

Hasn’t working with the big ones, the classic design companies like Poltrona Frau with their weighty heritage, added pressure to her work? “Quite the opposite,” Förster exclaims. “For one, they have money so when they show me a sample of materials, there will be this vintage leather, for example, that just takes your breath away.” She also thrives off working with craftsmen that have been in the industry for decades. “When they say, ‘we worked with Oscar Niemeyer,’ I must admit I get a thrill from it. These are talents I’ve always admired and now I’m working with people in the same way.” However, she thinks that manner of working is dying out. “These people, craftsmen that have been in the same company for 20 or 30 years, that know the philosophy, the process, the products inside out – that degree of experience won’t be around for much longer.” People move on quickly these days, feeling loyalty only to themselves, not a company.

So what directions does Förster predict? “Currently, four main trends. One is that things are being industrialised but look handcrafted. Today, that’s seen as ultimate luxury. It’s about that low-key approach, no brand, simple understatement, something very British, am I right? Secondly, there’s art in furniture. At present, most are still one-offs, at least in Scandinavia they don’t seem to go into production, but it’s an important movement. The last two are current fashions: monochrome shapes and seamless designs – think Glide – and lastly oversized objects [like the B&B Italia giant lamp concept design].”

Förster has an intuitive approach to design – her recent products glide, breeze … well, they move effortlessly. Her designs have found a certain calmness, a maturity that is most evident when comparing her current products to those early forms. Her objects on show in Stockholm this year are cool and serene to a degree that you think they have always been there – simple, light, seemingly floating. Monica Förster is one to watch out for and I wouldn’t be surprised if one day she creates a chair that really does hover in mid air.Awards2005 BEST PRODUCT 2005, TIME MAGAZINE 2004 THE ART GRANTS COMMITTEE, FIVE-YEAR GRANT 2004 COOLEST INVENTION OF 2004, TIME MAGAZINE 2003 DESIGNER OF THE YEAR, YO STOCKHOLM 2002 FUTUREDESIGNDAYS AWARD 2002 EXCELLENT SWEDISH DESIGN WITH HONOURABLE MENTION 2000 DESIGN PLUS, GERMANY

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