Hasta La Ideas

Cologne 2011: Italian brand Cassina present a collection of wooden furniture originally designed by architect Le Corbusier in the 1950s at imm cologne in Germany this week.

Called Authentic Wood, the series is part of the Cassina I Maestri collection and draws on furniture Le Corbusier created specifically for his architecture projects, including his own holiday home, the Cabanon, and his iconic Unité d’Habitation housing project in Marseille.

The range features two stools, one created for Le Corbusier’s summer home and the other for a university accommodation project, each comprising a rectangular box with dovetail joints at the corners and slots in each side for easy mobility.

Other pieces include a conference table where a network of steel rods support the round oak top, a modular writing desk with open shelves and a coat rack with mushroom-shaped pegs on a black board.

See a 1:1 replica of Le Corbusier’s Cabanon holiday home, designed by the architect for his own use, in our earlier story.

imm Cologne takes place 18-23 January 2011. See all our coverage of the event »

Here are some more details from Cassina:

CASSINA AND LE CORBUSIER: THE CULTURE OF WOOD CRAFTING Cassina presents Authentic Wood: four new projects in wood for the “Cassina I Maestri” Collection.

Paris, 19th October, 2010. Cassina continues its exploration and research of Le Corbusier’s vast collection of work with a study of creations by the great architect and designer during the 1950s. The company presents an exclusive world preview of four new projects for its “Cassina I Maestri” Collection, which join the Le Corbusier Collection originally introduced in 1964.

Philological research has been carried out on each piece, as always working in close collaboration with the Le Corbusier Foundation, with an exacting study of original drawings, sketches and prototypes. Wood is the underlying theme, a material which Le Corbusier – after many years of experimenting with tubular metal – began to use once he had reached full artistic maturity, rediscovering nature and turning his work towards elementary and archetypical items. Cassina takes this opportunity to demonstrate its well-established heritage and experience in carpentry and woodwork, at the heart of the company since its foundation, and to offer an exciting and authentic interpretation of this period in the great master’s design career. These new pieces unite a lucid design approach with a harmonious structure of shapes and surfaces.

The technological and artisanal challenge. Tabouret, Table de Conférence, Table de Travail avec Rayonnages and Portemanteau. These four fascinating items of home living have been painstakingly examined by Cassina in both detail and structural solutions to convey the simplicity and understated elegance of Le Corbusier’s original design. For Cassina, the use of wood as a material has always been synonymous with top quality cabinet making. In the case of these re-editions, such excellence in quality is the result of close attention paid to every stage of production. Cassina selects only the finest wood, which is subject to a careful aging process in the factory’s specialist plant. In this collection, high quality wood such as solid oak and walnut have been used. The minimalism and simplicity of each piece of furniture is emphasised and embellished by intricate workmanship. For example, the dovetail joints on the Tabouret are the result of extremely precise building efforts and a representation of the very best workmanship. Similarly the mushroom-shaped knobs on the Portemanteau coat rack highlight Cassina’s ability to “mould” wood. These results are obtained due to a company structure of industrial scale production built on artisanal expertise. A place in which wood is processed with the help of the most sophisticated machinery, but where the manual skills of each craftsman – developed during a lengthy apprenticeship – are what give true dynamism to every stage of production.

Tailor-made furniture for the contemporary world

The revisited furniture from the archives of Le Corbusier adorns the interiors of some of the designer’s most renowned architectural works; the Maison du Brésil in Paris, l’Unité de Habitation in Nantes-Rezé, l’Unité de Camping and the Cabanon in Roquebrune. Notably, Cassina presented a flawless reconstruction of the Cabanon interiors at the Triennale di Milano in 2006 – an exhibition which was later displayed in Tokyo, Zurich and London. In this series of interior spaces, there is an encounter between Le Corbusier the designer and architect and Le Corbusier the artist, painter and sculptor. As opposed to the extreme rationalism and irreverence of his early work, every piece of furniture here expresses a new and more fluid – even lyrical – sensitivity towards design; a mix of simplicity, severity and emotion.

The Tabouret coffee table /bedside table /stool is inspired by a wooden whisky crate abandoned on the beach and also the boxes used by painters and glass crafters. This is typical of Le Corbusier’s poetic expression in using objet trouvé, which became a dearly retained concept for the designer as years went by. The plasticity of the Escargot and Brésil lamps by Nemo, Cassina’s Lighting Division, gives another example of this creative period and completes the collection.

Le Corbusier’s works during the 1950s, show furniture design as focused more than ever before on fulfilling the needs and desires of the people. Accordingly, Cassina brings these models back to life in total harmony with today’s demands, updating their utility through the use of the most advanced technological solutions. The company’s quest for authenticity comes always via a respectful and highly informed interpretation of each original design so that the final product captures the very soul of the designer’s project and retains the values that make it unique and universal. This philosophy pervades the entire “Cassina I Maestri” Collection.

LC 14 01 Tabouret Cabanon, Roquebrune-Cap-Martin 1952. Le Corbusier – Cassina I Maestri Collection

A solid chestnut stool in natural wood colour with two dimensions and a squared side. Designed for the Cabanon, a place of intense design experimentation where, alongside numerous fixed pieces of furniture, mobile pieces are conceived as boxes. A simple seat that is also very refined, thanks to the dovetail joints which emphasise the links between each solid wood plane. The oblong hole on each side makes the Tabouret particularly easy to handle.

Measurements: 43cm x 27cm x h.43cm

LC 14 02 Tabouret Maison du Brésil, Paris 1959. Le Corbusier – Cassina I Maestri Collection

The Tabouret in its three-dimensional version, designed by Le Corbusier in 1959 for the Maison du Brésil, a university residence in Paris. A stool of understated elegance created in solid, natural coloured oak. Along the two main sides, the oblong openings make it easy to move and the stool can be placed either horizontally or vertically. The exclusive dovetail joint system on the corners emphasises Cassina’s precision and skill in crafting solid wood.

Measurements: 33cm x 25cm x h.43cm

LC 15 Table de Conférence, Atelier Le Corbusier, Paris 1958. Le Corbusier – Cassina I Maestri Collection

Le Corbusier designed a table in 1958, intended for both home décor and conferences, with an organic structure that is also rational at the same time. The key to the project is the use of two geometrical figures set one against the other. The circle is a sturdy horizontal tabletop in oak and the cube is made of steel tubes, which form a weave of perpendicular levels with outstanding aesthetic value. The top is available with a natural matte finish. Legs in lacquered steel in the LC colours (gloss grey, gloss green and matte black).

Measurements: Ø185cm x h.71cm

LC 16, Table de Travail avec Rayonnages, Unité d’Habitation, Nantes-Rezé 1957.

Le Corbusier – Cassina I Maestri Collection There are several versions of this small wooden writing-desk. Here Cassina reinterprets the project created for the children’s bedrooms at the Unités d’Habitation. The design of these spaces and the furniture within them is characterised by close attention to the harmonious organisation of both individual and collective life, with constant reference to the human body through the use of the Modulor visual measure system. The writing-desk is made up of a table top in natural coloured matte oak. The open compartments are equipped with fastened shelves. It is also possible to expand the piece by adding further open elements.

Measurements: 140cm/ 53cm x 70cm+27cm x h.72cm

LC 17 Portemanteau, Unité de Camping, Roquebrune-Cap-Martin 1957.

Le Corbusier – Cassina I Maestri Collection Le Corbusier developed the Portemanteau project for the first time for the Cabanon. This re-edition is the 1957 model designed for the Unités de Camping. In harmony with the many colours of these minimal spaces, which feature all the commodities of a cruise cabin, even the coat rack is coloured. Elements in solid oak resembling mushrooms in matte white, black, red, green and blue are placed at different heights, based upon Modulor visual measures, on an oak panel in matte black.

Measurements: 66.5cm x 60cm x d.7cm/ 11.5cm

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Le Corbusier’s Cabanon – the interior 1:1	Appt 50, Unité d’Habitation by Ronan & Erwan Bouroullec	More coverage of Cologne 2011

Cologne 2011: more from Jean Nouvel for Ligne Roset at imm cologne, this time the reissue of the French designer’s Saint James collection (above) and Simple Bridge (below).

Saint James was originally designed by Nouvel for a restaurant, where the elasticated covers over the foam pads were changed for each new customer.

The collection includes a chair with or without arms and a pouf.

The Simple Bridge was originally part of Nouvel’s Elémentaire collection, now reissued as a sofa, armchair and footstool, characterised by the curved shape cut away from both arms and footstool.

See also: Simplissimo by Jean Nouvel for Ligne Roset at imm cologne.

More about Jean Nouvel on Dezeen »
More about Ligne Roset on Dezeen »
More coverage of Cologne 2011 »

imm Cologne takes place 18-23 January 2011. See all our coverage of the event »

Once again we’ve teamed up with imm Cologne to hold a free series of Dezeentalks at [D3] Design Talents. More details »

See films of all the Dezeentalks at last year’s fair here.

Here are some more details from Ligne Roset:

Saint James

CONCEPT. “This chair was originally designed for an extremely luxurious restaurant, with a white cotton cover which was changed for each new customer. Even so it had great simplicity whilst expressing with its very form the idea of great comfort, like an invitation to sit down and eat well. It was especially designed for this location, but it is the right of every piece of furniture to go wherever it wishes. Its friendly character has always ensured that it is viewed with a certain amount of humour. Its spirit is this openness, this declared fluidity. Contemporary techniques have enabled us to make gains in terms of both comfort and lightness. Just like a construction set, the elements of the armchair are separate: the curved metal stems link four ‘bubbles’ with removable covers.” Jean Nouvel

AESTHETICS

A devotee of unembellished design, Jean Nouvel has reduced the elements of the structure (feet, arm supports, junction of seat-back) to their most simple expression in order to offer, by contrast, generous, highly welcoming proportions in the case of those areas which come into contact with the body (seat and back cushions, armrests).

The Saint-James seating combines simple and very light lines of steel, elegantly curved, with the sensual fullness of the seat, back or arm cushions. Its threadlike, spidery appearance in no way precludes excellent comfort.

Simple Bridge

CONCEPT

“This seat had in the Elémentaire collection, which was originally produced by Ligne Roset. Elementarity has always been, for me, a rather anti-design position. I designed this armchair for the centre des congrès de Tours in the early 90’s. To say the least: now, I want THIS armchair – because the seating of the 1930’s to 70’s, when put into the architecture of the 1990s, is like quotations which have been displaced. I tried to make a design with no stylistic effect in and of itself, with just a little ergonomy and comfort. This armchair should be capable of adapting to all situations. One should rethink them constantly, taking account of the locations into which they will have to fit. So it could be higher, lower, wider, the essential element being that its materials and proportions remain strict and correct.” Jean Nouvel

AESTHETICS

It was clearly the designer’s intention to create a lucid, transparent piece which marks a return to traditional geometric forms: minimalism as a means of achieving perfection in terms of form. On the bridge, a quasi-cube around 65 cm2, a sweeping curve cuts across the seat and front edge of the arms to optimise the comfort and the harmonious balance of proportions.

Simple Bridge reinvents the‘club’, a comfortable, masculine chair, but with an extreme purification in terms of form.The design of the curve of the arms is sufficient to bring a certain dynamism to the overall piece.

And yet, the apparent simplicity of Simple Bridge conceals the very skills necessary to its execution: there can be no approximations in terms of cutting, sewing or upholstery if the severe edges of the seat are to remain perfectly straight.

Finally, to remain true to its designer’s desire for simplicity, Simple Bridge demands, as a priority, a timeless covering : a smooth hide or a black, white or grey polyurethane-coated fabric.

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Ploum by Ronan & Erwan Bouroullec for Ligne Roset	Ruché by Inga Sempé for Ligne Roset	More about Jean Nouvel

Cologne 2011: French design brand Ligne Roset have launched a sponge-like sofa by designers Ronan & Erwan Bouroullec at the imm cologne fair in Germany this week.

Ploum is upholstered in just two pieces of stretchy, foam-backed fabric and is described by the brothers as “like a ripe, voluptuous piece of fruit”.

The sofa comes in three- and four-seater versions.

See all our stories about Ronan & Erwan Bouroullec »
See all our stories about Ligne Roset »

imm Cologne takes place 18-23 January 2011. See all our coverage of the event »

Once again we’ve teamed up with imm Cologne to hold a free series of Dezeentalks at [D3] Design Talents. More details »

Here’s some text from Ligne Roset:

“We attempted to make a very comfortable contemporary settee. Ploum is a vast shape on which the whole body rests on a soft, welcoming surface. Its seat is relatively low, it seems organic. Perhaps the use of a stretchy fabric is like a symbolic parallel to a contemporary lifestyle, in which flexibility of use and comfort seem to us to be essential. We pictured it like a ripe, voluptuous piece of fruit.”

Such was the intention of Ronan and Erwan Bouroullec, who wanted to give special consideration to those special moments during the day when we each want to relax and perhaps catch up with the other members of the household. It is therefore important that the greatest comfort afforded by the settee is the one which enables the body to relax in any position, from sitting to lying. The 4-seat settee also offers, in a very specific manner, a croissant-shape which tends to turn people towards each other around a common centre.

The Ploum settees are the fruit of a great deal of research into comfort, leading to a specific combination of two materials, used jointly: a stretchy covering fabric and an ultra-flexible foam. The combination of these two materials, when associated with the real dimensional generosity of the Ploum settees, offers an extreme level of comfort whilst offering the body the chance to adopt a number of possible postures.

Ronan and Erwan Bouroullec, both born in Quimper, studied at the Ecole nationale supérieure des arts décoratifs, Paris and the Ecole nationale supérieure d’arts de Cergy-Pointoise respectively. Ronan (born 1971) and Erwan (born 1976) came together in 1999 to carry out their work within a framework of permanent dialogue and a shared requirement for greater precision and delicacy.

Today, their works are produced by Vitra, Magis, Alessi, Established & Sons, Axor Hansgrohe, Kartell, Kvadrat, Cappellini, Camper, la Galerie kreo and Ligne Roset (Outdoor folding chair – 2001, Facett seating – 2005, distribution of Clouds decorative modules in Kvadrat – 2009). Their works can be found in the collections of institutions such as the musée national d’Art moderne, the centre Georges Pompidou, the musée des Arts décoratifs, Paris, the Museum of Modern Art, New York, the Chicago Art Institute, the Design Museum London, or even the Moijmans van Beuningen museum, Rotterdam. In autumn 2011, the Centre Pompidou Metz will stage the first great retrospective of the work of Ronan and Erwan Bouroullec in France.

Ronan and Erwan Bouroullec seek to make objects which are singular, elegant and sensual of form, and sustainable and adaptable in terms of function.They seem to have a predilection for certain themes: concepts such as elements which may combine to facilitate multiple use (Axor Bouroullec bathroom collection 2010) and half-closed spaces which serve to (re)define the concept of space (Lit Clos bed, 2000; la Cabane, 2001; Alcôve armchairs, 2007; North Tiles and Clouds textile tiles) are all part and parcel of their desire to preserve intimacy by structuring space.

The Ploum settees are the fruit of much research into comfort which led them to combine two specific materials: a stretchy covering fabric and an ultra-flexible foam.The combination of these two materials, when associated with the real dimensional generosity of the Ploum settees, offers an extremely high level of comfort whilst giving the body the chance to adopt a number of possible postures.

In effect, the quilted fabric employed, which in fact comprises a thick layer of polyester quilting sandwiched between two superimposed woven layers and held in place by points of stitching, offers a warm and comfortable visual aspect and a soft feel. Furthermore, its elasticity enables it to cover the continuous curve of the seats, high backs and arms in one single piece of fabric: a rhythmic repetition of points of stitching is what enables it to maintain its position.

Secondly, even whilst held in place by the points of stitching, this stretchy covering retains a great capacity to stretch and then regain its original shape, enabling the hyperflexible foam to ‘play’ beneath the weight of the body and to mould itself perfectly to the shape of the user, much as the sand might do so on a beach.

The hyperflexible polyurethane foam used for the comfort layer covering the entirety of the structure of the seat allies a great capacity to lose its shape in order to perfectly support the body in all positions with a lasting ability to rapidly regain its original shape, thus guaranteeing the longevity of Ploum.

The seat of the large settee, which may accommodate up to 4 persons, has a slightly closed angle perfect for encouraging sitters to move closer together, which in turn facilitates conversation between the occupants of the settee. In fact, the generous dimensions of the Ploum settees and their open, welcoming shape have been specially designed to accommodate a variety of positions, from sitting to lounging, or even fully reclined.

The great flexibility of contact associated with a freely-formed shape turn Ploum into a veritable nest: in fact, all positions are possible here, both back and head enjoy the same soft contact, no matter which part of the seat is concerned, even the arms.

Construction: Steel tubing, wire and mesh. Covered base.

Comfort: Integral seat in high resilience polyurethane Bultex foam 48 kg/m3 – 3.6 kPa and integral back in Bultex foam 26 kg/m3 – 1.4 kPa with comfort layer in hyperflexible polyurethane foam 30 kg/m3- – 1.8 kPa. Comfort is reinforced by the nature of the Mood fabric : a double-layer quilted stretchy weave, held in place by points of stitching.

Making-up: Cover made from a woven fabric generously padded with polyester quilting and quilted by points of stitching. Covers may be removed by an upholsterer.

Fabrics: Exclusively available in Mood fabric.

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Quilt by Ronan & Erwan Bouroullec	Star System by Enrico Buscemi and Piergiorgio Leone	Ruché by Inga Sempé for Ligne Roset

Cologne 2011: London designer Harry Thaler‘s Pressed Chair is one of two joint winning projects in this year’s [D3] Contest, an international competition for young designers organised by imm cologne.

The chair is made from a 2.5mm-thick aluminium sheet with a relief pressed into the surface, which provides structural strength once the legs are bent into place.

A stool using the same technique is made in a similar way from three pieces bolted together.

Thaler developed the project while studying at the Royal College of Art in London last year.

His project shares first place with OLA Foldable Table by Swedish studio AKKA – more information to follow soon.

Dezeen editor-in-chief Marcus Fairs will interview the [D3] Contest winners tomorrow as part of our series of Dezeentalks at [D3] Design Talents in collaboration with imm cologne. The talks are free so come along! More details »

imm cologne takes place 18-23 January 2011. See all our stories about the even in our special category »

See films of all the Dezeentalks at last year’s fair here.

The information below is from Harry Thaler:

Pressed Chair

Pressed Chair is a pressed aluminium chair which has been bent into shape to form a super-light, stackable chair.

For Pressed Chair I wanted to create an elegant and simple chair from a single sheet of 2.5mm aluminium. By pressing structural elements into the 2 dimensional sheet, I was able to make a chair that pushes the limits of minimization and material. The chair, which is light enough to be lifted with only two fingers, is extremely strong without any external structural support. Instead decorative features pressed into the sheet provide the required strength once the chair is bent into shape.

Materials used:
Aluminium sheet 2.5mm, 1 m² for one chair

As part of my aim to minimize everything, I have also created a stool from the areas of scrap surrounding the chair when it is being cut. The stool, unlike the chair, is not made from 1 piece, but three. It is held together by screws.

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[D3] Contest winners 2010	[D3] Contest winners 2009	More about Cologne 2011

Dutch designer Frederik Roijé presents his range of sofas with an integral side-table in Cologne, Germany, this week.

Called Slow Sofa, the seat can be reconfigured in various arrangements, including a corner sofa.

The collection is currently on show at Galerie Fiebach & Minninger during imm Cologne, which opens tomorrow and runs until 23 January.

Once again we’ve teamed up with imm Cologne to hold a free series of Dezeentalks at [D3] Design Talents. More details »

See films of all the Dezeentalks at last year’s fair here.

Other projects by Frederik Roijé on Dezeen »
More furniture on Dezeen »

Here’s some more information from the designer:

In the context of the Passages during the IMM Cologne 2011, January 17 to 23, Frederik Roijé presents his latest design Slow Sofa at Galerie Fiebach & Minninger. The Slow Sofa is a collaboration of two pieces of furniture and materials in one object.

Slow as a durable starting principle in the design of interior products in order to continuously produce new creations. Within the food culture slow is already more developed. Fascinated by this belief the Slow Sofa is designed.

The Slow Sofa is a family of nine elements that can be applied in many compositions at various locations. An intelligent design for a new period in time.

Manufactured with local industries and craftspeople, with as many as possible natural never-ending and recyclable resources.

See also:

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More stories on imm Cologne 2011	Ruché by Inga Sempé for Ligne Roset	Blend by Mieke Meijer