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Showing posts with label seating. Show all posts
Showing posts with label seating. Show all posts

Another Coffin Couch - The Heretic From Autum.



A few years back, I introduced you to Coffin Couches, a company that makes couches from actual recycled, well... re-purposed, steel coffins.


above: One of Coffin Couches' many custom options

Not alone in this creepy concept, Autum, a Los Angeles based store that produces limited edition items, has created The Heretic, a black Italian leather sofa hand-made from an 18 gauge steel coffin and produced in a limited edition of three.








Features:
* Hand Made USA
* Custom Built From an 18 Gauge, Steel Coffin
* Welded Underside For Durability
* Custom Hand Sewn Seating Area
* Airbrushed: Gloss Black / Pewter Trim
* Black Italian Leather: Life Marks & Grain Variations Will Occur
* Laser Engraved ID Plaque
* Limited Production Run of (3)
* 81.5″ x 31″ x 26.5″
* Complimentary Domestic Shipping / International Orders: Contact Us




 Price? $4,500 USD
Buy it here

the fabulous photos are by photographer Phillip Ritchie , courtesy of Autum.

It's A Stool. It's A Chair. It's A Chool! New Seating From Slam.



above: The Max Chool, shown open in Slice with walnut panels



The Chool is a new concept in modern seating. A combination stool and a chair in one (hence the name), designed by James Lucas for Slam. The Chool is available in 2 sizes; the Standard (500x500x500cm in stool mode) - a lightweight compact design without arms or the Max (600x600x600cm in stool mode) - an armchair style with a larger backrest.


above: the Standard style is shown with walnut side pods and the max style in a textured orange fabric by Kvadrat.

Both are made predominantly with laser cut aluminum components. Each with be available in various fabric and color options.

The Standard, open and closed and with and without walnuts side panels:

The Standard, closed and open:

The Standard, open as a chair:

The Standard, closed as a stool:

The Max, closed and open in Kvadrat orange fabric:

The Max, open as a chair:

The Max, closed as a stool:


More angles of both Standard and Max Chools:


the press release:
Slam is very proud to announce the launch of Chool - a new concept in seating. What makes it so different? Chool is an innovation in active seating that seamlessly adapts its form depending on how it is being used.

We know very well what is required of a chair when someone is sitting on it. Perfect ergonomics, a comfortable seat and supportive backrest. However, when not in use these attributes are no longer necessary. This led designer, James Lucas, to explore what can be done with the form of the chair when not in use.

Daily we are lucky enough to encounter beautiful design demonstrated in seating products around the world. All of these products fit in to categories. For example, the armchair, couch, chair and stool are forms we are all familiar with.

Chool is a new standard in seating design. It offers the new ability to drastically alter the look of any environment that requires chairs, whilst also offering the excitement of fluid, dynamic movement. This results in a highly memorable experience for the user.

At rest Chool is compact and unassuming. When sat upon the seat pod slowly descends a few inches to a standard seat height. This action seamlessly operates some clever bits tucked away inside that smoothly, vertically deploys a backrest and chool transforms from its stool-like form into a chair. Thus providing reactive support in accordance with the users needs.

When no longer in use, Chool automatically returns to its original compact form. Unlike any other chair, Chool has the ability to be easily stowed under tables and desks. This offers clear access to the surface, an uncluttered skyline and in turn removes any trip hazards. Chool requires no external power or batteries to operate and can be locked in any position at the touch of a button.

Chool will be officially launched at London Design Week in September and has been specially selected to feature on the Hidden Art exhibition stand along with other innovations in seating design.

Chool is designed and made in the UK.

50 limited edition
Slam is currently receiving orders on a limited edition batch of 50 Chools especially for Design Week. Each Chool from this batch will come with official certification. Today 19 of this batch are still available.


About Slam:


James Lucas founded Slam in 2007 and originally focused his energy on designing doors that were out of the ordinary such as the 'ThreeStyle', a door with 3 openings one inside the other and ‘Flow’, a door purely made of cascading water that ceases as the user approaches. As a designer, Lucas enjoys creating interactive designs that do something that you wouldn't expect them to. Chool is another example of his innovative contemporary retro style, which combines his love of mixing clean, crisp modern surfaces with natural materials.


For further information on Chool please contact:
James Lucas or Amy Baker on 0845 094 9081 or email lowdown@slam.co
Web site www.slam.co (the site is currently being built, and yes, just '.co' - it’s a new domain extension)

Le Corbusier Classics LC2, LC3 and LC4 Get Colorful, Courtesy Of Cassina.




Three well-known pieces from the iconic collection of LC furniture by Le Corbusier are now available in wild contemporary color versions from the exclusive manufacturer of authentic Le Corbusier furniture, Cassina.



The classic tubular steel and leather "Grand Confort" collection (specifically the armchair, 3 seater sofa and chaise longue) are now available in various colored fabric and frame options as part of Cassina's Masters Collection (I Maestri).

First, some history for you:


The original LC furniture range by Le Corbusier, whose actual name is Charles-Edouard Jeanneret, was a system of furniture co-designed with his cousins Pierre Jeanneret and Charlotte Perriand in 1928. The tubular steel furniture, especially the famous LC4 chaise and Grand Confort chair, both of which are in the permanent design collection of the Museum of Modern Art, projected a new rationalist aesthetic that came to epitomize the International Style.

The Original LC2 Grand Confort:

above: Original LC2 - Fauteuil Grand confort, petit modèle, 1928, Le Corbusier, Pierre Jeanneret, Charlotte Perriand. photo Cassina © FLC/ADAGP

The Original LC3 Grand Confort:

above: Original LC3 - Fauteuil Grand Confort, grand modèle, 1928. Le Corbusier, Pierre Jeanneret, Charlotte Perriand. photo Cassina © FLC/ADAGP

The Original LC4 Chaise Longue:

above: Original LC4 - Chaise longue, 1928. Le Corbusier, Pierre Jeanneret, Charlotte Perriand. photo Cassina © FLC/ADAGP
 
The classic Armchair and two or three seat sofa with steel frame are and have been available from Cassina's I Maestri collection in the following finishes: polished chrome - matte black - gloss black (basalte) - gloss grey - gloss light blue - gloss green - gloss bordeaux - gloss ochre.



The LC4 longue chaise from Cassina was and still is available with adjustable chrome or matte black cradle and matte black base. The upholstery of the base is available in the following materials: hairy skin with black leather headrest (shown above), all leather with a black leather headrest and in a special canvas with leather footrest and headrest.


Now, the new colors!



A series of updates and new details have been added to the iconic models that Cassina exclusively produces in the “Cassina I Maestri” collection. This new range has been carried out in close collaboration with Le Corbusier Foundation and through the analysis of original documents and drawings belonging to the designers. The result is an even more vibrant and contemporary vision.

The New Color LC2 Grand Confort Armchairs:




Alongside the better known chrome-plated pieces in black leather, Cassina enhances the seven tones established for its metal frame structure. The company proposes them in innumerable combinations with a fabric collection approved by Le Corbusier Foundation, and the heirs of Jeanneret and Perriand.

The New LC3 Grand Confort Sofas:





The design idea of deconstructing the seat into its base elements of supporting frame/cushions is further enhanced. The LC2 model is now also proposed with down padding, while the versions in dacron® in both the LC2 and LC3 models are even softer. All elements are designed to highlight the relationship between cushion/content and metal frame/container. The result is a product with an even richer and pleasantly lived-in look. There is also more flexibility of choice for the LC4.

The New LC 4 Chaise Longue:



The famous leather chaise-longue can now be accompanied by a cushion in the same shade as the entire mattress, as well as the usual version with black cushion. The result is a consistent, plain colour that enhances the purity of the form. Cassina has also worked on the textures of the upholstery materials. In the basic covers of category X leather, a new extremely soft and pleasantly tactile leather is introduced. Its sensorial qualities make every piece of furniture even more welcoming and attuned to individual desires.



As well as the distinctive symbol of authenticity of the Cassina brand that is shown above (which includes a progressive production number, the signatures of the designers and the Cassina I Maestri logo) found on all models, the Cassina signature will now also be visible on the base of the metallic frames of the LC2, LC3 and LC4 seat.

This logo indicates that Cassina is the only company with exclusive international rights to reproduce Le Corbusier furniture. This is in accordance with Fondazione Le Corbusier and the heirs of the co-designers that, since 1964, have chosen Cassina as their exclusive spokesperson due to its sensibility and respect for the original project, as well as its consolidated production expertise.

read the whole press release here

images courtesy of Style Park, Cassina and The Foundation Le Courbusier

When Computers And Classics Collide: Sebastian Brajkovic's Lathe Furniture




SEBASTIAN BRAJKOVIC

Last Spring, Carpenters Workshop Gallery had a showing of Sebastian Brajkovic's collection of work, entitled Lathe. The exhibit consisted of a series of several chairs and one aluminum table, all of which combine classic furniture design with computer inspired 'stretching' to create a modern interpretation of antique style furniture.

The work is so innovative and unusual that one of the pieces from the exhibition, Lathe VIII, has even been entered into the prestigious permanent collection of the Victoria and Albert Museum.

"They are called Lathe because of the apparent rotating effect of the design. In fact the word Lathe comes from the Latin word used to convey the idea of milk being stirred. My very first thought with making this design was actually a practical one. I wanted to create more space on a singular chair by “extruding” the seat’s surface area." says Sebastian.



The artist continues "This extruding idea came from a Photoshop function where you can pick a row of pixels and extend them as long as you want. This modern computer method aided me to devise new ways of sketching as a contradictory partner in my design process. In this paradoxical sense, using antique forms was the next logical step."



His artistic process starts by deconstructing historical pieces of furniture, in particular seventeenth-century chairs, then through a combination of wood carving, bronze casting and hand embroidering, he reconstructs an entirely new vision, as you can see from the pieces below.

Lathe I:



Above: Lathe I, 2008
H 85 L 114 W 114 cm
Bronze, embroidered upholstery
Edition of 8


Lathe II:



Above: Lathe II, 2008
H 100 L 102 W 62 cm
Bronze, embroidered upholstery
Edition of 8

Lathe III:


Above: Lathe III, 2006
H 94 L 74 W 67 cm
Bronze, hand embroidered
Edition of 8

Usually the materials or forms I use are from products that already proved themselves as worthy. Like the lathe chair series for instance, the forms are used from old chairs, these old chairs lay easy on the eye because they are recognizable, in a way they are accepted. If I want to explain a chair that looks like its moving, it will explain itself better when you recognize the old and familiar chair in it.
---- Sebastian Brajkovic


Lathe V (in various color versions):









Above: Lathe V, 2007
H 94 L 94 W 54 cm
Bronze, hand embroidered
Edition 8

Lathe VIII (shown below) adopts the idea of the traditional love seat, which is created by connecting two baroque-style chairs by an extruded backrest. The elaborate embroidery on the upholstery of the backrest is a significant element of this work. The regular overlapping of the outline across the entire width of the backrest creates the impression of movement which is reminiscent of super slow-motion shots á la Matrix. Brajkovic accordingly seems to integrate the moment of morphing, the element of time as a fourth dimension, into the object.






Above: Lathe VIII, 2008
H 105 L 140 W 85 cm
Bronze with nitric-acid burned patina and needle stitched embroidered fabric
Edition of 8

Made of aluminium, the Lathe Table is quite literally created by being turned on a real lathe. In this incarnation however, the chisel carves aluminum directly instead of the traditional wood. The evocative sense of movement is conveyed in the spinning lines of the quasi vortex, offering the past impression of a moment of great movement and now stillness. Inspired originally by a child’s spinning top, whizzing around at high speed, it has the same illusion that once at its optimal speed it is no longer moving but standing up straight. The highly polished surface is a product of the lathe turning technique which polishes as it carves the metal. He explains that whereas the Lathe Chairs are more like painting, in that modifications can be made during the production process, the Lathe Table is a one step process which is an honest and direct application of the Lathe concept.

The Lathe Table:





Above: Lathe Table, 2008
H 30 L 119 W 119 cm
lathe turned aluminium
Edition of 8

About the designer:
Sebastian Brajkovic was born 18th September 1975 in Amsterdam from a Dutch-Indonesian mother and a Croatian-Italian father.

After completing a course in cabinetmaking at school he applied for both the Rietveldt and Designacademy being torn between an art and design education. He chose the Designacademy with a view to make art that wanted to be design or visa versa. He studied under Gijs Bakker, Hella Jongerius and Jurgen Bey. He continues his studies in philosophy at the University of Utrecht. He carried out an invaluable internship at Jurgen Bey's studio. In June 2006 Brajkovic graduated with the "Lathe Chairs" and "Home Grown" projects.

The above pieces, if not yet sold, are available for purchase from:
The Carpenters Workshop Gallery,
3 albemerale street, london w1s 4he

special thanks to Spazio Rossana Orlandi and Dezeen for some additional images.

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