Masters of design
I discovered) to interpret the iconic Aluminium Chair by Charles and Ray Eames, made in Europe by Vitra. The starting point is certainly linked to the PET Lamp concept, but here it takes on a slightly iconoclastic twist. Or, rather: what is considered an industrial chair is no less artisanal than many handmade objects, in terms of its production process. The addition of embroidery destabilises and at the same time transforms a “serious” piece of office furniture into something more reassuring. To the point that it won the approval of Vitra’s owner, who included my version of the famous chair in his range! q. What is your opinion on the new interest of designers, particularly
85
young ones, in the crafts?
A. Today, as before, it is very difficult to
become an industrial designer. My generation has realised that it must apply the methodology of design in all sectors. Just think of the achievements of designers such as Piet Hein Eek, who has practically set up an industry of his own. The crafts are at the heart of industrial design. Companies like Thonet are the industrial outcome of an artisanal process. Today production can be adapted to the designer, combining exceptional detail with volumes that can vary according to one’s needs: from a few dozen to hundreds of pieces. Designers must understand how to approach this new and interesting scenario.
TRANSFORMS A “SERIOUS” PIECE OF OFFICE FURNITURE INFLUENCES Petit point embroidery respectfully decorates the canvas of the famous Eames chair in Alvaro Catalán de Ocón’s interpretation Home/Office (2014).
080 Eng_CATALAN.indd 85
06/03/15 11:18