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spun steel & turned timber legs

Coathanger shown at popUp exhibition “One Night Stand” in Helsinki. Our aim was to create, by using industrial production leftoves, sculptural install..

If you’ve found that traveling to New York or Chicago or Miami for their various furniture and interior design expos has become routine, with all those same exhibitors every year and all the regulars wandering the booths, maybe you should start thinking about booking a flight to Iran. The nation is trying their hand at inviting foreign producers as part of their “first technical exhibition of office furniture and interior decoration,” held for three days at the end of the month at the Tehran Permanent International Fairgrounds. Reportedly, in addition to local designers, via the Iran Furniture Manufacturers and Exporters Union, they already have 145 foreign firms lined up to participate, coming from both Europe and Asia (no mention of US involvement, which doesn’t come as too great a surprise). There isn’t much more information available beyond those few details, but we’re going to keep our eyes peeled for when photos, post-exhibition, are hopefully posted. We’re curious to see what an Iranian international furniture/interior fair looks like.

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Sjoerd Vroonland of the Netherlands has designed a collection of chairs, including this one with branches sprouting from the back-rest.

Called Revised Craft, Vroonland focuses on the functionality of the furniture and the use of different materials.

The branch chair is an interpretation of how chairs are used in various ways, for example for hanging coats and other items on.

The collection also includes a rocking chair made up of beads, a stool with a seat made of moulded leather, inspired by the bicylce seat, and a lazyboy.

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Here’s some more information from the designer:

Revised Craft

For my collection I ask myself the question: is a chair purely functional? Is it a showpiece and a visual story? Or is it an expression of technical know-how and therefore representative of its era?

With this topic I deconstruct 19th and 20th century design classics and translates the craftsmanship of the pieces into new materials to develop new techniques. To generate this I use self-designed construction tools.

These ‘rulers’ are, on one hand, a construction method of the seat, on the other hand a tool to generate a continuous linear form.

As a designer I’m constantly researching on craftsmanship to innovative and integrate new materials and production techniques within the designs. My pedigree shows the total process.

The rocking chair is inspired by the history of the Thonet chair. By subjecting and utilizing the beads from different perspectives the current construction is being modernized in a contemporary way.

Revitalization can only arise when you, as a designer, research and examine craftsmanship as well as design classics and products. My collection starts with a conceptual stage where no concession is made towards comfort but only on visual design and silhouette.

At this stage I chose certain materials which allows total freedom of form. This is followed by a complete and final design where technology are demanding their share.

See also:

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