Située à Fresnes-au-Mont en France au Vent des forêts, « Le Nichoir » est une récente création architecturale signée par la designer française Matali Crasset. Cette commande propose 6 cabanes au design charmant à retrouver en images dans la suite de l’article.
French designer Matali Crasset is showing a series of mysterious hooded furniture at an exhibition in Paris (+ slideshow).
The group of furniture is entitled the Permanents and is designed to evoke the habits and rituals of an imaginary human community.
Folded sheets of felt create structures that envelop the body and form hoods overhead.
Each piece is given a unique purpose – as a place to lie down, sit or come together – and some incorporate objects including a chair and a wooden bell.
Orange mats or chair coverings inside the felt structures highlight functions and represent the warmth of the body, while the grey shell emphasises its protective quality.
The furniture is being shown at Galerie Thaddaeus Ropac together with a film directed by Matali Crasset and Paris and Berlin-based artist Juli Susin, which shows people wearing coloured versions of the hoods performing a series of rituals on an imagined journey to a mystical mountain.
Crasset says: “I think of the exhibition as a space for introspection. I’m interested in presenting elements of a moving and developing line of thought by using formalizations far removed from my usual practice with the ‘exhibition’ object.”
“I question my own practice as much as I question design in all its entrenchments, by thinking of it as an autonomous activity, detached from any basic premise,” she adds. “Thinking, and suggesting hypotheses, is what excites me in this context.”
The exhibition continues until 20 July.
Matali Crasset designed a sofa system comprising two removable upholstered chairs and pebble-like cushions that was launched in Milan earlier this year and she has also created a range of products and furniture made from concrete – see all projects by Matali Crasset.
A chair with armrests that extend to form a protective loop around the sitter was popular on Dezeen this week – see all furniture design.
Here’s some more information about the exhibition from Galerie Thaddaeus Ropac:
Matali Crasset, Voyage to Uchronia, Pantin
Galerie Thaddaeus Ropac is delighted to be hosting matali crasset’s project Voyage en Uchronie (‘Voyage to Uchronia’) in our Pantin gallery. Following the exhibition of the blobterre at the Centre Pompidou in 2012, Voyage to Uchronia, crasset’s fifth exhibition at Galerie Thaddaeus Ropac, continues her reflection on experimental environments.
Voyage to Uchronia is a fiction that takes place in a separate time. This exhibition questions notions of utopia and rituals, which are central elements in matali crasset’s practice.
The exhibition is made up of a series of furniture pieces, the Permanents, built around the same structure and a film directed with Juli Susin of the Royal Book Lodge, titled Voyage to Uchronia, salvatico è colui che si salva.
The Permanents
Voyage to Uchronia brings together a group of furniture, the Permanents, that evoke a group of humans and their rituals.
The Permanents are built around a unique form that envelops the body and is present through its various activities. The module partially surrounds the body whilst standing, seated or laying down. The folded form protects the head, inviting us to meditate. The exterior grey color accentuates it’s protective side, the interior has orange areas highlighting an invitation to read, to sit, to lay down, to see, to remember, to listen…
These structures are in their simplest forms, closest to the human being. We recognize in the different elements in this scheme that evoke a primitive life: a chair, a cabinet of curiosities, a portrait gallery, a wooden bell, a puppet, one to lay down in, one used for thinking, for concentrating in and a module to meet others, composed of several Permanents. The pieces are made in felt, a material evoking protection and the unchanging.
Voyage to Uchronia: salvatico è colui che si salva
This film was born out of a collaboration between matali crasset and Juli Susin realized through his collaborative platform: the Royal Book Lodge. It is their first film together and includes Julia Rublow’s participation.
In the forest where the mystical mathematician Pythagoras lived and died, a tribe carries out imaginary rituals. Against the backdrop of water, air and sun, Uchronia’s universe unfolds, a world born out of a collision of figures and colors.
Do other worlds appear and disappear on the way to ours? What remains? Were the numbers at the origin of forms and colors there before us? This transformation of the Pythagorean question where the origin of our civilization crosses path with the future, is a temporal transgression and colorful introspection that gives birth to the film with a pulsating and hypnotic rhythm.
At the end of the film a herd of wild boar gathered around an airplane evoke Leonardo da Vinci’s metaphor “Salvatico è colui che si salva,” which means “Wild he who saves himself.”
Flee into the air? Flee in a dream? Flee in space? Flee human beings?
The artist will always remain an enigma.
About Uchronia
In 1936, Régis Messac offered this definition of Uchronia in Primaires, the review he edited: “An unknown country, discovered by the philosopher Renouvier, located at a remove from time or outside time, to which, like old moons, events that might have happened but did not are relegated”.
The word was invented by Charles Renouvier, who used it in the title of his 1876 novel Uchronie, l’utopie dans l’histoire, (‘Utopia in History’).
Uchronia is a 19th century neologism constructed on the pattern of ‘Utopia’, which Thomas More coined in 1516 as the title of his famous book Utopia. Where the Greek elements ‘u-topia’ suggested ‘no-place’ (ou – topos), ‘u-chronia’ suggests ‘no-time’ (ou-chronos in Greek). Etymologically, therefore, the word designates non-existent time.
This project is part of the Designer’s Days 2013 program.
The post Voyage to Uchronia by Matali Crasset
at Galerie Thaddaeus Ropac appeared first on Dezeen.
Milan 2013: French designer Matali Crasset has designed a sofa that breaks down into a bed, two armchairs and two footstools.
Called Concentré de Vie, the system by Matali Crasset comprises two upholstered chairs and two pebble-like cushions, housed in a triangular base that doubles as a single bed.
The elements are upholstered in neutral fabric with orange highlights and can be rearranged to accommodate different numbers of guests or activities as required.
Italian brand Campeggi showed the design at Salone Internazionale del Mobile in Milan. The brand has produced a few interesting pieces of furniture for house guests, with past products we’ve covered including a sofa wrapped in a fabric wall, a chair that transforms into a single bed and a coat stand that conceals a spare bed by Crasset.
See all our stories about design by Matali Crasset »
See all our stories about furniture by Campeggi »
See all our stories about design at Milan 2013 »
Here’s some more information from Campeggi:
Concentré de Vie is a project allowing diversity to express itself thanks to a set of elements that can be moved everywhere within the domestic landscape. It’s a mutant structure able to welcome from two to seven people turning from sofa to living room and proposing, at the same time, a different kind of comfort.
A team among which each member plays a main role: two square elements that become, one after the other, armrest, footstool or pouf; a box element acting as a binding agent that can be used as a single bed and finally two relaxing elements, real core of the whole system, which can be used together or separately.
The post Concentré de Vie by Matali Crasset
for Campeggi appeared first on Dezeen.
Interieur: French designer Matali Crasset has created a collection of concrete furniture, including a lamp shaped like an interwar military listening device.
Crasset recently became the artistic director of French concrete specialist Concrete by LCDA, and the Concrete collection is a result of this collaboration.
The lamp references concrete acoustic mirrors, also known as “listening ears”, which were developed in Britain between the wars to concentrate sound waves and detect airborne invasions.
The bookshelf is designed to be a “backbone of knowledge” with shelves like vertebrae protruding from a central spine.
“This project combines fluidity and the desire to get away from the very common single-piece shapes when concrete furniture is concerned,” said the collaborators.
Other projects by Crasset we’ve featured recently include a set of vessels shaped like horns, speaker components and loudhailers and a woodland hotel room on legs.
We’ve been publishing some of the best projects from Interieur this year, including furniture that expands like popcorn and an arcade of light beams that appear to bend inwards – see all our stories about Interieur.
See all our stories about concrete »
See all our stories about Matali Crasset »
Photographs are by Simon Buisson.
Here’s some more information from the designer:
The international designer Matali Crasset is working with Concrete by LCDA as artistic director. This is a new stage in the development of Concrete by LCDA which, after putting its know-how into use to excel in interior design, from now on becomes a design and manufacturing company.
The international designer Matali Crasset is working with Concrete by LCDA as artistic director. This is a new stage in the development of Concrete by LCDA which, after putting its know-how into use to excel in interior design, from now on becomes a design and manufacturing company.
The aim is to tame concrete to so that it will be better incorporated into the heart of our daily life. The range of concrete products that Matali Crasset has designed for Concrete by LCDA invites concrete to be a fully-fledged player in our interiors, both for primary uses and more immaterial functions. So it is in this setting that the material and symbolic dimension of concrete is highlighted.
This initial collection of furniture and objects designed for concrete takes its strength from the beauty of the concrete material. By moulding the concrete, it becomes furniture and then enters into a dialogue with us in our life scenarios. In this way, Matali has designed a collection of timeless and sculptural objects, both obvious and essential, which combine a technical material and a know-how with a high level of craftsmanship with a sensitive approach.
The collection is comprised of three objects which suggest three functions and values: to meet, to store, to light.
Table
Concrete becomes the centre of the house with a very archetypal table which asserts its desire for continuity. The shape is meant to be simple to so that material’s sensitive aspect can be revealed: the texture of the wood’s grain will reveal more than the manufacturing mode, it locks the project into a long tradition of moulding. The concrete unobtrusively finds its place and becomes a key element in the apartment. Wooden frame is the most frequently used tool for framing concrete walls that are generally reinforced, a forming tool used since the 17th century made from pieces of wood. The concrete is both a very technical material – lightweight concrete – and a material which requires precise handwork; in this way, the mould leaves the trace of the wood and the handwork. This is an archetypal object, with a clean line which easily fits into any type of interior. A large table seating 6 to 10 persons in a spirit of conviviality and hospitality.
Technical description :
Table in ultra-high-performance fibre-reinforced raw concrete and inner core, with a mat varnish surface.
Dimensions: 250 x 100 x 75 cm, also available in 220*100*75 cm.
Weight: 120 kgs
Top 80 kg, each base 20 kg.
Lamp
The lamp is more unexpected, it shows that concrete knows no borders. It refers to the listening ears in Folkestone in England. These objects deriving from technology exiting between the two wars have become obsolete with the arrival of radar beams. The function of these large objects in reinforced concrete was to listen to the sky. The flag changes scale to become a light diffuser. It is placed in various locations in the apartment, standing or suspended. Here the concrete is moulded with great finesse to so that the design can be seen.
Technical description :
Dimensions: 53 x 50 x 31.5 cm
Ultra high-performance raw concrete, LED 18W lamp.
PCB (printed circuit board) made up of 0.5W 36 leds powered by 24V direct current. The power obtained is 18W or about 1800 lumen for a colour of 4000°.
A diffuser made of a white light spectrum moulded acrylic sheet offers an excellent diffusion strength and an eco-efficient solution.
Weight: 18kg
Bookshelf
This is a bookshelf in the image of the backbone of knowledge. The material is known for its strength, this project combines fluidity and the desire to get away from the very common single-piece shapes when concrete furniture is concerned. The material seems to be set in its lightness, like a freeze-frame shot, it retains the momentum and the dynamism of growth. The table and the storage space are a homage to human building genius, to major structures in raw concrete which symbolise modernity.
Technical description :
Dimensions: 190 x 95 x 35 cm.
Smooth ultra-high-performance concrete, Ductal.
Weight: each element 70 kg
The post Concrete collection by Matali Crasset
for Concrete by LCDA appeared first on Dezeen.
French designer Matali Crasset presents a series of vessels shaped like horns, speaker components and loudhailers at Mica Gallery near Rennes in France.
Each is made of sycamore finished in lacquer and gold leaf.
A performance by sound artist Damien Marchal will accompany the silent objects of the Infrasons collection, which are on show until 25 February 2012.
See all our stories about Matali Crasset here.
Here are some more details from Mica Gallery:
From 18 November 2011 to 25 February 2012, the Mica Gallery is exhibiting a series of objects by Matali CRASSET which have never been seen before. The combination of artisan-designer on which the Mica Gallery is staking as a future promise is therefore continuing with the invitation from this major design centre whose awareness of know-how has already been expressed in a number of collaborative projects.
Bowls, vases, tidies? Shaped like a loudspeaker, loudhailer or a foghorn, these objects mischievously shy away from their status, juggling between use and representation, compelling whoever takes it up to think about what he will do with it, and this is already an invitation to reinvent the world.
Unidentified objects, they play at maintaining a doubt about their function and their origins. They may be the descendants of old musical instruments where we don’t know where the sound comes from, as well as the prototypes for high-tech sound equipment that nobody yet knows how to work. This silence is too mysterious not to prick up one’s ears and to feel a palpable tension in this silence, generated by the attempt to synthesise what cannot be reconciled: the fossilisation of the future, the image of the sound, the materialisation of the wave, the objectification of the movement (the one which guides the body when spinning a piece of wood).
Without any noise, the sound spreads out. It cannot yet be heard, but it means paying attention as if one must be wary of sleeping water: the spirals may indeed follow the momentum started in the wood, the unique objects give rise to series. Then, the scenarios are borne out, the utopias prove their viability!
Damien MARCHAL has seen them… these objects being made. He has heard the sounds which filled the artisan’s workshops. The invitation he received in the form of a white card is the opportunity for the artist with sound to imagine a remarkable dialogue with these finished objects some of whose secrets he knows. Still in search of experiments, his taste for risk leads him this time to use his voice exclusively for this new performance.
Matali CRASSET
Matali CRASSET is by training an industrial designer, a graduate of the Ateliers – E.N.S.C.I. (Workshops – National Higher School of Industrial Design). At the beginning of 2000, after her initial experience with Denis Santachiara Italy and with Philippe Starck in France, she set up her own studio in Paris called “matali crasset productions” in a renovated former printing firm in the heart of Belleville. It is there, with the coming and going of children and neighbours that she dreams up her projects.
She considers design to be research, working from an off-centred position allowing to both serve daily routines and trace future scenarios. With both a knowledgeable and naive view of the world, she questions the obviousness of codes so as to facilitate her breaking these bonds. Like her symbolic work, focused on hospitality, “Quand Jim monte à Paris” (When Jim goes up to Paris), is based on a mere visual and conscious perception which she invents another relation to the everyday space and objects. Her proposals are never towards a simple improvement of what already exists but, without rushing things, to develop typologies structured around principles such as modularity, the principle of an interlacing network, etc. Her work revolves around searching for new coordination processes and formulating new logics in life. She defines this search as an accompaniment towards the contemporary.
Matali CRASSET works with a variety of actors, just as easily with the curious craftsman as with an individual in search of a new life scenario, with the industrialist ready to experiment as with the hotelier who wants to develop a new concept (Hi Hotel in Nice or Dar Hi in Nefta), with a small rural commune which wants to develop its cultural and social dynamism or the museum which wants to be transformed (SM’s in s’Hertogenbosch in the Netherlands). Always in search of new territories to explore, she collaborates with eclectic worlds, from Crafts to Contemporary Art, from the textiles industry to fair trade, realising projects in set design, furniture, architecture, graphics, collaborations with artists, and so on such as with artists (Peter Halley), with young furniture-making companies, as well as with municipalities and communes …
This experienced acquired over the years has led her to currently work on more participative projects, on a local and global level, both in rural and urban settings. From her meetings, creative workshops, discussion and common desires, she works with different project leaders who nevertheless all have the same conviction that these collective processes result in plausible social bonding scenarios.
It’s ultimately the core question of living together which defines her imaginative designs, writings and the sense of Matali’s work
Damien MARCHAL
Born in 1977. Lives and works in Rennes. Teaches in the Breton Higher National School of Architecture in the field of sound within the context of the visual arts. Founder member of the VIVARIUM artist’s workshop in Rennes, 2007.
For several years, he has been working on various problems linked to sound and the influence it can have. Damien MARCHAL uses sound like a material to create pieces and artistic environments. This approach to the many ramifications comes into play in the form of performances, devices or installations as well as in researches and collaborations with other artists. The artist endeavours to implement the devices or the sound is the basic element in the project. His work today questions the concept of going into violent action. He shapes the transducer as a sculpture, applying himself to give a visual meaning to the loudspeaker. In the “Garbage truck bomb” project, the sound produces a shock wave, this is generated by a series of speakers using terrorism’s visual codes. The sound depends on the visual field, the object then catalyses attention and focuses hearing on the project and what it has to say. This approach is similar to all his current projects, enabling the study of the properties of this material and its phenomena which can be observed.
Artisans
Alain LARCHER: Tournerie du Plat d’Or
Xaviert BONSERGENT: Prototype Concept
Olivier GUILBAUD: Atelier du Doreur
MICA Gallery
“La Brosse” Route du Meuble,
35760 St Grégoire-Rennes
Matali CRASSET
Guest artist Damien MARCHAL, Visual artist with sound
Commissioners: Michael CHÉNEAU and Julie PORTIER From 18 November 2011 – 25 February 2012
Graphics: Vincent MENU / “Le jardin Graphique”
Publisher: MICAGallery Edition limited to 8 copies Prices on request
French designer Matali Crasset has created this Paris hotel in collaboration with Patrick Elouarghi and Philippe Chatelet, where visitors check-in, order food and exchange tips on the city with other guests via the hotel’s online system and a plethora of screens throughout the building.
The HI matic hotel allows guests to choose and change music in the public areas, collaborate on an ever-evolving city guide and collect meals from an automatic machine in the restaurant.
42 rooms are spread over five floors, envisioned as cabins where the specially designed furniture systems can change function throughout the day as required.
See also: Dar Hi hotel in the Tunisian desert by Matali Crasset
More hotels on Dezeen »
More stories about Matali Crasset on Dezeen »
Photographs are by Simon Bouisson.
The following is from the designers:
HI matic by Matali Crasset with Patrick Elouarghi and Phillipe Chatelet
HI matic, an urban eco-lodging facility. HI matic, when sleeping in Paris becomes easy. Located in the Rue Charonne, a stone’s throw away from Bastille. Welcome to South Bastille where restaurants, organic shops, store concepts, specialized book stores are blooming. Young designers meet here, young chefs open their restaurants, you can cruise around and meet your friends. The area is as popular as it is trendy, a condensed version of Paris in Rue de Charonne. This is where HI matic has been established, a new urban eco-logding concept.
Matali Crasset has collaborated once again with Patrick Elouarghi et Philippe Chatelet to inject a new vibe in the Paris lodging. With 42 cabin rooms, HI matic combines the codes of an urban hotel with that of a country lodging. Economical, ecological and automatic, this warm cocoon in the heart of the city revives the best Japanese Riokan, the youth hostel or the rest house. An ecological accommodation with a precise choice of materials (wood, rubber, natural paintings) that entice areas of conviviality and sharing.
Contemporary in its layout, warm in its the choice of living areas, affodable in terms of price and sincere with regards to environment awareness, Himatic is what was missing in quality city accommodation. It is adapted to current needs, ideal for green attitude addicts or more casual ecologically concerned individuals.
HI matic is a small hotel perfect for a city like Paris. It answers the need of the characteristics of urban tourism, for short and longer stays, a pied à terre for those who come regularly to the Capital for business or leisure trips. For a day or a year, you will want to come back to HI matic to enjoy a good night’s sleep! Because everything here is simple, informal and friendly.
HI matic is 100 % internet the web site created by the hotel without any intermediary, dealing directly and simply with the hotel. You are welcomed and guided in the same simple way. You live the experience in full autonomy as comfortable at the HI matic as you are with social networks.
HI matic, the pied à terre experience:
Hi matic has to be experienced as a direct link to the city. You can live your stay in a simple and casual way, free to move in an explanatory environment. Turned towards the exterior because of the lobby that is open to the street with large windows but also a protective cocoon in the interior. It allows you to rest in comfort and to regenerate while getting acquainted with Parisian life style. An hotel to rest, and catch your breath before plunging back into the urban rhythm. Staying at HI matic is enjoying the pied à terre experience in Paris. You move in with all the autonomy and freedom, you are never alone, for you are sure to meet friends in a new community with whom you can share each other’s experiences and tips about the city.
Flexible Cabins
The first impression when you discover the rooms is an appropriation of space. The 42 rooms occupy 5 floors and are conceived on a model of a cabin. Space is available and flexible. All is done to allow you to spend time. Each cabin offers all the services of a comfortable room. Flexible in its play with spaces and elements, the experience of living closer to the ground is what gives you that impression of freedom. Nothing is hung on the walls, the cabin is its own structure that leads to all services. The cabin has an extension that is a small desk. The bed is on a platform with its memory shape mattress that was custom-made. It is in the centre of the cabin. At night it becomes a large and comfortable bed for a good night’s sleep. During the day it’s a sofa for lounging, dining, working … A real freedom of action that entices you to possess the room as if it were a cabin made for children. Fluency, autonomy, simplicity: the client is in a universe without formalities while very structured.
The automatic dispensers and the restaurant:
When you arrive you are swept by the sound music of the label Kompakt and you can enjoy the rhythms of the HI radio. The lobby as well as the restaurant is conceived to favor encounters, meetings allowing for tips to be exchanged before going off to discover the city. You can meet people, you can leave messages, addresses. The ipad is at your disposal to discover music selections and to see various practical informations, it is a communal tool. HI matic is networking within the city. A giant map of Paris is present in the meeting point. ParHI Link is fed by important people chosen by their expertise in music, art and cooking…. they will share their experience of the city. it might become Paris’ best city guide.
HI matic shop:
The HI matic shop is conceived like a gift package available 24/24. This playful boutique proposes a selection of useful, pleasurable and practical objects ready to use. Guides, books, cd’s, toothbrushes and other necessities are available in an original dispenser. A real organic breakfast is available in the restaurant from automatic dispensers. You are free to take whatever you please and place it on your tray and then seat around the large communal table.
The new born of HI Life:
After the HI hotel in Nice and Dar HI in Nefta in Tunisia, HI matic is the new project of the HI life group. As usual, Matali Crasset, Patrick Elouarghi and Philippe Chapelet want to offer an accomodation concept shakes up conventional hotel business codes. They came up with new ways to welcome you and to allow you to live together in a hotel. They have managed to create very diverse entities from urban city hotel to the eco-retreat in the desert. HI matic adopts Matali’s beliefs about hospitality which were her main concerns when she first began -ie hospitality column.
“When Jim comes to Paris”. HI matic respects the same logic as the Hi hotel in Nice in its contemporary, dynamic yet friendly dimension. A living experience that will be renewed at your next HI Life destination.
HI matic
71 rue de Charonne
75011 Paris France
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| Dar Hi by Matali Crasset | Hotel Forsthaus by Naumann Architektur | Pattaya Hotel by Dept. of Architecture |
Milan 2011: French designer Matali Crasset launched this convertible sofa for Campeggi at the Salone Internazionale del Mobile in Milan earlier this month.
The sofa, called Dynamic Life, is controlled by a touch pad and can be configured in three ways.
See all our stories about Milan 2011 »
Photographs are by Ezio Prandini.
The following is from the designer:
Dynamic Life Matali Crasset 2011
Sofa gradually turned bourgeois, a fossilized object; a sort of cetacean who got stuck on the domestic universe and takes a lot of space giving back a little service. Hence the idea to ask him more generosity and identification with modern life.
When touch pad became part of everyday life, an object conceived not for a passive comfort but for an active one. A dynamism which distances itself from complicated mechanisms; an ease of handling which proposes three different moments in the same place.
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| Double Side by Matali Crasset | Quand Jim se Relaxe by Matali Crasset | La Cantine de la Ménagerie de Verre by Matali Crasset |
Milan 2011: visitors lower objects into pits of molten wax then hang them from the ceiling to solidify in this installation created by students of the Haute Ecole d’Art et de Design in Geneva at workshops with designer Matali Crasset and curator Alexandra Midal.
Called Dip in Space, the room at Tortona Design Week has a sloping floor to accommodate the vats of wax beneath, with a round wooden structure and pulley system for dipping built round each one.
The environment will change constantly as the week progresses and more parts are coated in red wax.
The installation remains on show until 17 April at Via Tortona 32, Milan. See all our stories about Milan 2011 »
See all our stories about Matali Crasset »
Photographs are by Baptiste Coulon.
Here are some more details from Head – Genève:
Third participation by Head – Genève in the Milan International Furniture Fair : the exhibition Dip in Space, a festive environment celebrating design created by its students in a workshop led by matali crasset and Alexandra Midal is to be found from 12 to 17 April in the heart of the vibrant Zona Tortona. Created during a series of workshops directed by matali crasset in 2010-2011, the exhibition Dip in Space brought together students from the Spaces and communication Masters in Design and the Bachelors courses in Fashion Design and Interior Architecture / Space Design.
Although the design generally presented in Milan is evaluated according to functional criteria, Dip in Space offers a new approach to the means of creating and standardizing space. Left to its cyclothymias, Dip in Space is divided up into two worlds : the first, with glowing red magma set above the platform, represents the mind of the designer in full ferment, while the second invites visitors to experiment, in a fun and convivial way, with the invention and production of forms. They are invited to dip supports into wax-filled containers from which they withdraw objects, each one of them unique. The forms they produce are assembled in situ to constitute a collective work in progress. A quasi-organic space, Dip in Space celebrates the plasticity of matter and the amusing creation of forms.
Throughout the exhibition, walls and objects will gradually blend together to form a single entity in which, from the clothing worn by the representatives to the cocktails served to visitors, the seating places/points and the projected images, everything combines to form a « total art work ». The continually metamorphosing environment illustrates how design is a place for individual, participatory and democratic inventiveness.
A sensorial oasis of relaxation and calm, Dip in Space offers a fun and convivial interlude amid the frenzy of Milan during Design Week. Offbeat and festive, the exhibition encourages us to reconsider the issues of contemporary design by transcending the primacy of function in favour of experience.
Dip in Space: Head – Genève with matali crasset
Torneria 3 – Tortona Locations Via Tortona 32, Milan Exhibition runs from 12 to 17 April 2011, 10.00 – 21.00
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| Double Side by Matali Crasset | Quand Jim se Relaxe by Matali Crasset | Chambre d’Ami by Matali Crasset |
La designer industriel française Matali Crasset a pensée pour la marque italienne Danese un siège original appelé “Double side”. Ce siège peut devenir en un seul geste, un outil de travail grace à un dossier amovible. Un design intéressant pour cet objet, à découvrir dans la suite de l’article.
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French designer Matali Crasset will present this chair with a fold-out table for Italian brand Danese in Milan next month.
Called Double Side, the seat is designed so the backrest slides up and flips 90 degrees to become a table surface for writing, using a laptop or eating.
More about Matali Crasset on Dezeen »
The information that follows is from Matali Crasset:
Double side, Matali Crasset 2011
Seat: birch multilayer laminate
Colors: natural wood, orange laminate, beige, blue, orange or green felt
“An object isn’t generous enough if it has just a single function” (M.C)
Double side is a versatile seat which can be transformed with a tiny intuitive gesture, into a work tool, the back flips and becomes a small plane on which you can write, use your computer, eat or play.
It’s a new typology of products which breaks the codes of traditional living based on the idea of life borrowed from the bourgeois model which by now is outdated and does not adapt itself to everyday life but continues despite this to influence the space with rigid models and preconceptions, filling it with elements which represents a status more than a real need.
Matali Crasset therefore design this seat not as fixed element, dedicated only for resting but as a tool which allows passing between active and passive situations, which keeps up with life and lets itself be interpreted. The project isn’t a sign, a formal result, but a reflection on a scenario of life in transformation, the product is a physical transposition that derives from it.
“At home today the structures are fixed, like a paused video with a paused picture, life is changing and it’s in movement and it reactivates the video so to speak.
My projects work in the interstices of the activities, in passages between one paused picture to another in order to reattach them to one another and to renew the movement and the action in between the spaces.” (M.C.)
Double Side invites an action, and forwards potential opportunities which are revealed during its use.
In this, objects like Double Side can have a role in influencing life styles, succeed in creating stimulus, in transmitting not only a sense of protection and the comfort of resting but also the pleasure of creativity in modelling personally spaces in according with new visions , with a change in mentality and in behavior ( the non stopping one). Double Side doesn’t stop at the archetype of the seat but updates it always watching the real needs of “seating” and therefore it unifies within itself more traditional elements reevaluated according to contemporary needs: it’s a traditional and comfortable chair in the essentially, but positive, warm and familiar thanks to the use of natural materials like wood and felt, and to the color.
it’s a support plane, of reduced dimensions but sufficient to assure the functionality of such an alternative and informal chair.
It’s a small space which represents the affective heart, a sort of “memory” of the object in which one can put some books, the computer, and safekeeping personal objects. It maintains familiar elements like the materials and recalls familiar gestures like the one of the bolts for fixing together the 2 positions, in order to recreate a connection, a closeness to the person. It’s a tool for managing the annulment of limits between work and private life, for welcoming new technological tools which come with both. It guaranties action but in a less formal and more provisional way, like balancing life and work and manage at the same time 2 distinct situations.
In the spaces shared, the change in front of the use of Double Side can become an indication of the change in predispositions to the reality: from an invite to the search of privacy. Ds actually represents a more rich and open solution, ideal for public spaces as well, in which overlap more activities and behaviors places such as waiting rooms, relaxations centers or informal meeting places at the interior of offices and halls.
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