The Tub chair was definitely a unique fusion where Wegner emerged the new moulding plywood technique with upholstery and traditional wood work in solid wood even adding an angle adjustment mechanism for the back. There is no doubt that the complexity of this design is a brilliant example of the bold and pioneering experiments that Wegner conducted throughout his life, this from 1954 being one of the earliest and the Circle Chair from 1986 being the latest of that kind.
“These chairs are important because they are outstanding and unique examples of Wegner’s work with easy chairs, but also because they are unique examples of good design in general. They offer inspiration with pioneering concepts, and they do it as extremely good quality products that are comfortable and will last for a lifetime. The origin of the name ‘Tub Chair’ certainly refers to the shape of the back shell. It was never given a number. We will give it the model number 530.” explains Master of Craftsmen Kasper Holst Pedersen, PP Møbler.
Tub Chair, by Hans Wegner, for PP Møbler
Photography by Anders Hybel Brauner
Doshi Levien (Nipa Doshi and Jonathan Levien) has conceived a set of storage cabinets that resemble the improvised dwellings fundamentally found in developing countries across the globe. London studio’s ‘Shanty’ storage units for BD barcelona feature monochromatic or colorful corrugated patchworks on their façades, disguising rationally and carefully considered volumes within for hiding belongings.
Shanty Storage Cabinet, by Doshi Levien, for BD Barcelona
Christophe Pillet and OFFECCT have teamed up to create the furniture collection EZY. EZY consists of a sofa, easy chair, barstool and a table series and were originally designed and developed for the new interior of Pullman Tour Eiffel Hotel in Paris.
EZY Collection, by Christophe Pillet, for OFFECCT
Exhibiton: Man Machine by Konstantin Grcic, February 13 – May 17, 2014, Galerie kreo, Paris, France
Numéro 111 are the creators of the second VIA Furnishing programme, entitled Insulaire. Numéro 111 see the living room as an island, a ‘space inside space’ where furniture plays a structuring role and creates varied experiences of comfort and use. The more traditional approach focuses on the sofa; the more laid-back take is linked to floor-level living, where the central element – a rug – is accompanied by easy-grip cushions that can be positioned as needed to form headrest, back-rest or seat. Other pieces interact with both space-levels: tables with an upper plateau that moves to serve at low or divan level, a lamp that reconfigures to serve as reading light, up-washer or standing lamp. There is also a screen that defines territory and doubles as a storage unit, the open-work parts of which serve to hang a mirror or digital devices.
Insulaire, by Numéro 111
The MOOT (Mood of Our Time) Carbon Fiber Chair was designed and developed by Ross Lovegrove in partnership with Established & Sons.
MOOT Carbon Fiber Chair, by Ross Lovegrove, for Established & Sons
Charlotte Perriand is regarded as one of the most influential designers of the early modern movement, acknowledging the increasingly machine-driven culture of the 1920s and ’30s and introducing the profound change in aesthetic values to interiors. As a true pioneer in the application of materials like steel, aluminium and glass to furniture, the french architect and designer established an expansive breadth of work that, to this day, remains the archetype of an evolutionary shift in the industry. When she was just 24-years-old, she commenced a decade-long collaboration with Le Corbusier and Pierre Jeanneret, during which period the trio conceived and developed a series of tubular steel chairs, existing now as icons of an era. The work of Perriand will be a significant presence at Design Miami/ Art Basel Miami 2013 with presentations at the Raleigh Hotel, the Louis Vuitton Boutique and the Cassina showroom.
Dutch designer Richard Hutten has been invited to guest curate the interior of the Sonneveld House by altering the original layout with his own product designs.
The Sonneveld House Museum stands adjacent to the NAI on the corner of Jongkindstraat and Rochussenstraat in Rotterdam. Built in the early nineteen thirties, it is one of the best-preserved houses in the Nieuwe Bouwen style, the Dutch branch of the International School of Modernism. It was designed by the architecture firm of Brinkman & Van der Vlugt, also known for the Van Nelle Factory and Feyenoord Stadium. The Sonneveld House opened to the public as a house museum of the NAI in March 2001, following a period of intensive restoration and refurbishment. As a visitor, you can see for yourself what it was like to live in a hypermodern home in 1933.
Traffic is a collection of furniture using wire and upholstery. The correlation between the three-dimensional line drawing of the metal rod and the geometric volumes of the cushions marks a significant shift from the common connotation of wire furniture. The unassuming simplicity of its conception impart a pleasant casualness. The refinement of detailing and carefully tailored proportions stimulate a resounding elegance. The inherent logic of construction creates a formal grammar which allows for a number of functional declinations to form the Traffic collection: an armchair, a two seater sofa, a small bench (which also serves as ottoman), a chaise longue. All pieces are available with upholstery in fabric or leather. The metal structure is either powder coated (in high gloss colours) or chrome plated.
Traffic Collection, by Konstantin Grcic, for Magis
Benjamin Hubert has designed the world’s lightest timber table as part of an internal studio research project into lightweight constructions. The table, titled Ripple, is 2.5 metres long, 1 metre wide, and weighs just 9 kilograms. Made using 70-80% less material than a standard timber table, Ripple can be assembled and manoeuvred by a single person. The table’s impressive strength to weight ratio is enabled by an innovative production process of corrugating plywood for furniture through pressure lamination, which was developed by Benjamin Hubert with Canadian manufacturer Corelam.
Ripple is made entirely from 3 ply 0.8mm birch aircraft plywood, a timber sourced only in Canada, where the table is manufactured. The material is the same as that used in construction of the Hughes H-4 Hercules – popularly known as the “Spruce Goose” – the world’s largest all timber airplane. The strength of the material in combination with the unique lamination process means the edge of Ripple measures just 3.5mm. Ripple is minimal in its design language, employing a simple knockdown construction. The top surface is corrugated plywood overlaid by a flat sheet, and the A-frame legs are a sandwich construction of two corrugated plywood layers.
Ripple Table, by Benjamin Hubert