in Rooms
Mario García Torres curates design exhibition in Mexico City house
Artist Mario García Torres has curated a new exhibition of ambiguous objects by designers including Hector Esrawe in a house in Mexico City. More
Exhibitions
Subterms
More stories
- in Rooms
Timber Trade Federation exhibits six “conversation pieces” made from responsibly sourced timber
Dezeen promotion: the UK Timber Trade Federation is showcasing the winning entries of its Conversations about Climate Change design competition via a virtual exhibition and event series.The competition, which received more than 100 responses from around the world, called on entrants to create an installation that would provoke discussions about global warming while showcasing the environmental benefits of responsibly sourced, tropical hardwoods.
Top image: Joseph Pipal’s Carbon Print is one of the winning projects. Above: The Extraction pillar is by Julia and Julian Kashdan-Brown
“Responsibly forested timber is an essential part of the climate change solution; however, tropical forests have too often been undervalued and their forest land cleared for other uses,” said David Hopkins, CEO of the Timber Trade Federation (TTF).
“Our competition asked architects and designers to respond to tropical timber, think about the materials they usually work with and consider how the role of materials specified is vital for implementing change.”Tree Whisperer are sound sculptures by Sheryl Ang and Yuta Nakayama
Selected by a panel of judges including Yinka Ilori and Julia Barfield of Marks Barfield Architects, the six winning “conversation pieces” are now on display at London’s Building Centre for the next three months (temporarily closed due to the lockdown restrictions) and via a virtual 360-degree tour.
Among them are a series of sound sculptures by Singaporean designers Sheryl Ang and Yuta Nakayama, which are shaped like various tree species and emit different “heartbeats” that their particular response to climate stress.
A simple teak column by UK-based Michael Westthorp shows today’s sea level as well as its projected rise by 2120, while Julia and Julian Kashdan-Brown took a pillar of sapele wood and drilled holes through its heart to visualise the impact of uncontrolled deforestation – “take too much, and the system will collapse”.High Tide by Michael Westthorp shows the effects of sea-level rise
Meanwhile British furniture maker Joseph Pipal created a series of blocks reminiscent of gold bullion, made from meranti, sapele and iroko wood, each emblazoned with the amount of carbon they are able to sequester from the atmosphere and store.
“I’ve been uplifted, as a maker, by the simple realisation that using sustainably sourced wood can help with the climate crisis,” he said.
Design duo Jeremy Yu and Tomos Owen as well as architect Tom Wilson are also among the winners.The Carbon Print project shows the amount of carbon that different tree species can sequester and store
All timber for the installations was sourced from countries that are currently working towards being licensed via the United Kingdom and European Union’s Forest Law Enforcement, Governance and Trade (FLEGT) initiative.
This sees countries commit to a Voluntary Partnership Agreement (VPA) and an action plan for overhauling their legal, social, business and environmental infrastructure to combat illegal logging and timber trade as well as deforestation.
“This landmark shift in governance and procurement means that FLEGT-licensed timber is safe, responsible and legal,” Hopkins said.Also among the winning projects was the Sapele Sound Pavilion by Jeremy Yu and Tomos Owen
Alongside the exhibition, Hopkins will be speaking to Dezeen’s founder and editor-in-chief Marcus Fairs as part of a live-streamed interview that will delve deeper into the environmental benefits of responsibility sourced timber, and how the materials specified today can have a positive impact on the world’s forests and climate change.
The talk is set to take place on Thursday 11 March at 3pm and will be broadcast exclusively on Dezeen.
Explore the virtual exhibition and discover more about the six winning installations made from VPA tropical hardwoods on the Building Centre’s website.
Partnership content
This article was written by Dezeen for the Timber Trade Federation as part of a partnership. Find out more about Dezeen partnership content here.Read more: More
- in Rooms
MUT Design clads modular Valencia Pavilion in thousands of wooden scales
Valencia studio MUT Design has designed five modular pavilions clad in scales made from leftover wood for a travelling exhibition in Spain.The pavilions will showcase work by 50 designers in five different sections to celebrate Valencia’s title of World Design Capital for 2022.
Each section – design and art, the circular economy, industry and craftsmanship, technology and the transformative economy – is housed within its own mini pavilion formed from two semi-cylinders.Top image: the exhibition is broken down into five mini-pavilions. Above: each is formed from two semi-cylinders
These consist of four metre-high curved walls, which can be placed separately or together to create a labyrinth of winding corridors and secluded alcoves.
Inside, the units’ pinewood frame and construction are laid bare, while the convex exterior is clad in hundreds of small, overlapping wooden fins, adding up to around 220,000 across all five pavilions.The units are arranged to form a labyrinth of corridors and alcoves
The wood was originally meant to be turned into the parade floats that are ceremonially burned as part of Valencia’s historic Fallas festival every March, but the event was cancelled due to the coronavirus outbreak.
Instead, the wood was used for this installation, which is on view as part of the Madrid Design Festival until 14 March before becoming a travelling exhibition.The pinewood frame is left exposed inside the pavilions
“Here in Valencia, we have a lot of traditional wood ateliers that create works for the Fallas festival,” MUT Design co-founder Alberto Sánchez told Dezeen.
“But it was cancelled due to the pandemic and a lot of materials were left on the shelf. So we decided to collaborate with one of the ateliers to give a new life to the wood and create some work for the builders.”The pavilions are clad in wooden scales
Each scale was handmade by local woodworker Manolo García and trimmed to three standard sizes of 14, 16 and 18 centimetres. These were then lined up and alternated to create a textured surface not dissimilar to tree bark.
“We wanted to bring together tradition and the avant-garde while recovering something that is really ours – deeply rooted in our city,” Sánchez explained.
In particular, the studio drew on natural textures found in the Albufera National Park just south of Valencia, as well as on the thatched roofs of traditional houses known as barracas.Kengo Kuma designs tessellated Botanical Pavilion as “tridimensional puzzle”
Breaking each pavilion down into two semi-cylinders allows the individual units to be combined into “infinite compositions” that can be adapted to different spaces for the travelling exhibition.
“Because it is a travelling exhibition, we want to create one-of-a-kind experiences in each of the several places it will be visiting,” Sánchez added.
The units were also designed to be taken apart into separate pieces, which can be stacked for ease of transport.Each scale was handmade by Manolo García
Contributors to the exhibition include designer Jaime Hayon, brands Andreu World and Expormim, and a number of emerging studios showing projects including self-ventilating graphene facades and homeware made from olive pits.
“We wanted to bring to Madrid a different selection of projects that are leading a silent transformation of society,” explained Xavi Calvo, director of World Design Capital Valencia 2022.Displays are fixed to the inside of the pavilions
MUT Design has previously collaborated with Expormim to create a chair modelled on the shape of a flower petal and an outdoor rug made from braided ropes, which were exhibited at the products fair of Dezeen’s Virtual Design Festival.
Photography is by Ernesto Sampons.
Valencia Pavilion – The Future is Design is on view at the Fernán Gómez Cultural Centre as part of the Madrid Design Festival until 14 March 2021. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.Read more: More
- in Rooms
Brazilian designers imagine relaxing interiors for Patagonian eco-lodge
Designers from Brazil have created renderings that imagine the interiors of an eco-lodge in Patagonia for the design show Casa NaToca.The theme for this year’s Casa NaToca was “refuge” with participating designer asked to design rooms for Mapu, a sustainable house and guest lodges being built in the Chilean part of Patagonia by a couple named Pati Beck and Gustavo Zylbersztajn.
Designers including Bel Lobo, Leila Bittencourt, Paula Neder and Paola Ribeiro each contributed digitally rendered interiors of the lodge.Top: living room by MRC Arq. Design. Above: dining room by Isabela Fraia Arquitetura
Mapu is being built in the city of Futaleufú next to Lake Lonconao.
Along with a home for the pair and their children, Mapu will include loft-style accommodation for guests, extra accommodation in the form of an Airstream trailer and a restaurant in a greenhouse.Reading room by Marcella Reynol Arquitetura
Participating designers imagined all of these places with timber walls, natural textures and wide windows with sweeping views of the landscape.
MRC Arq Design created a living room with a hanging swing and a built-in desk in front of giant windows with views of the mountains, while Isabela Fraia Arquitetura designed a timber-lined dining room filled with art and bookshelves.Playroom by Estudio Minca and Hauzz Estudio Criativo
A kitchen by Rodrigo Ferreira Arquitetura features an island covered in a blackboard for the children to draw on.
There are cute bedrooms for both of the children along with a room for their cousins, and an attic playroom by Estudio Minca and Hauzz Estudio Criativo with a diorama of the planets suspended from the ceiling and a net floor.Children’s bedroom by Quarto das Primas, Muito Mais Arquitetura and Nina Moraes Design
Marcella Reynol Arquitetura’s reading room features cheerful framed prints on the walls.
A deck for barbecues designed by Leila Bittencourt, Cynthia Bento, and Flávia-Lauzana features a sunken conversation pit overlooking the scenery.Airstream guest house by Cajoo Studio
“The desire for escapism is at an all-time high” say visualisers creating fantasy renderings
Cajoo Studio visualised a compact and cheerful guest apartment in a trailer, and there are a wide variety of guest lofts designed for couples or families.
All of the renderings share a sunshine-saturated palette, with pale timber walls and plenty of houseplants and woven pendant lampshades.Barbeque spot by Leila Bittencourt, Cynthia Bento and Flávia-Lauzana
Previously held in Rio de Janeiro and São Paulo, this year’s Casa NaToca show is being held virtually due to the coronavirus pandemic.
Visitors to the online show can explore a 360-degree virtual tour and listen to audio recordings from the designers.Guest studio by Ana Hygino and Cau Gonçalves
More dreamy fictional interiors renderings by architects and designers include a rock-formation hotel in Russia, an idealised holiday villa by the sea, and a hotel with a spa in Ukraine.
Casa NaToca is online until 11 April 2021. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.Read more: More
- in Rooms
Hugo McCloud’s artworks use plastic bags instead of paint
New York artist Hugo McCloud has created a series of artworks that contain no paint or glue, only thousands of small plastic pieces cut from single-use bags and melted together to form a motif.The series, called Burdened, is on view at Sean Kelly Gallery in Hudson Yards, New York until 27 February and spans 31 original pieces created by McCloud while quarantining in his Mexico studio.
Together shows women carrying goods across the border of Ceuta, a Spanish autonomous city in Morocco
To create the collages, which mainly depict scenes of labour, McCloud first traces them onto a wood panel before filling them in with the multicoloured plastic scraps.
These are individually cut from plastic bags and layered on top of each other, much like individual brush strokes, before being fused together with an iron.Burdened is on show at Sean Kelly Gallery
“Due to the nature of the material and its thinness, you can always see underneath, so one colour applied on top of another creates a third colour,” McCloud told Dezeen.
“There has to be a lot of forethought and planning before starting. The plastic is fused onto the panel with an iron, there is no removal or covering up, you must know what you’re trying to achieve. With paint, there is more freedom for chance and emotions. I do miss some of that but working with the plastic is very meditative, with an understood direction.”Several of the artworks show refugees crossing the Mediterranean Sea from Libya
The bags come from recycling yards and waste management companies, or else the artist picks them up off the street himself or reuses ones that were given to him while shopping.
Often, their branding remains visible in the final art piece, acting as a reminder of the material’s former life and reinforcing its familiarity.Each piece is a collage of hundreds or thousands of small plastic shreds
Based on photographs found on the internet, the collages depict the movement of people and goods around the world, from workers transporting wares on their backs and bikes to refugees attempting to cross the Mediterranean Sea by boat.
In this way, the Burdened series is not just a commentary on the environmental impact of single-use plastic but also an exploration of how this ubiquitous material transcends class and geography.Sweet Sneak Studio’s photo series puts focus on microplastics in the food chain
“Traveling in India, I saw multi-colour plastic sacks everywhere and started to understand their downcycle, from the companies that purchased and used them to distribute their products, down to the trash pickers in Dharavi slums,” the artist explained.
“The idea that these plastic bags would always be around – never biodegrade – interested me, and made me curious about the hands and lives of the many people they would pass through.”With all your Might is one of several pieces that show goods being transported by labourers
The exhibition also includes a mini-series of collages showing flower arrangements, which McCloud made to offer the show’s visitors and himself a moment of respite from the dispiriting news cycles and monotony of lockdown.
McCloud, who has a background in industrial design, is known for creating “paintings” from unusual, often three-dimensional materials like bitumen or aluminium sheeting.The exhibition features 31 artworks
To mark New York City’s ban on plastic bags, local artist Robin Frohardt created a grocery store installation last March that was stocked with produce like tomatoes and berries, all formed from discarded single-use carriers he had collected from the city’s streets.
Dutch food design studio Sweet Sneak has previously explored pollution and its environmental impact through a photo series, in which common foods and drinks such as beer and sushi were topped with styrofoam bubbles and wrapped in plastic bags.
Installation view photographs are by Jason Wyche.
Burdened is on view at Sean Kelly Gallery until 27 February 2021. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.Read more: More
- in Rooms
Penthouse of SOM-designed tower transformed into collectible design gallery
Seminal furniture designs by Brazilian modernists sit alongside contemporary art in a shoppable exhibition within the 40th-floor penthouse of a recently-opened San Francisco residential tower by architecture firm SOM.Travelling French-Lebanese gallery Gabriel & Guillaume has decorated the interior of the penthouse of the new Fifteen Fifty building in bright colours and patterns, and furnished it with a mix of new and mid-century pieces, all of which are for sale as part of the showcase.
Top: An open living space is at the centre of the penthouse. Above: The apartment’s office features a sofa by Carlo Hauner and Martin Eisler
The exhibition, which will run through summer 2021, is a collaboration between the gallery, the building’s developers Related California and branding agency FrenchCalifornia, which specialises in creating exhibitions within model apartments.
The team was tasked with decorating the three-bedroom, three-bathroom penthouse – with interior architecture designed by Los Angeles firm Marmol Radziner – to create a scheme that is “livable and approachable”.
“We always work to conceptualise and execute spaces that help visitors see that collectible design can be attainable and fun, so this project came very naturally to us,” FrenchCalifornia told Dezeen.The master bedroom features almond green walls and a hand-knotted wool and silk rug by Marguerite le Maire
Pieces on show hail from Italy, France and Brazil, dating from the 1940s to present day.
They sit alongside a contemporary art collection curated by gallerist Jessica Silverman, which includes works by American sculptor Davina Semo, multi-media artist Julian Hoeber, painter and photographer Ian Wallace, Israeli artist Amikam Toren and Berlin-based Claudia Wieser.A Jacaranda wood and marble dining table by Sergio Rodrigues sits in the dining room area alongside dining chairs by Martin Szekely
Vivid paint colours such as the deep blue in the open kitchen, almond green in the bedroom and 1980s-style graphic green wallpaper in the office were chosen to reflect the spirit of the city while complementing the furniture and helping to define the different rooms.
Describing their style as “eclectic”, Gabriel & Guillaume pulled together a diverse selection of furniture from different countries and eras.
Pieces designed in the 1980s by French designer Martin Szekely sit alongside work by Brazilian modernists such as Martin Eisler and Carlo Hauner, who founded illustrious furniture brand Forma, and Jorge Zalszupin.The living space opens up into a dining room
Contemporary furniture pieces include designs by Beirut-based Ranya Sarakbi and Niko Koronis, who is known for his work with resin. Rugs by Iwan Maktabi and textile designer Marguerite Le Maire, as well as pieces by ceramicist Maloles Antignac were chosen to complement the furniture.
“When we buy pieces, we don’t think of how they will go together,” Nancy Gabriel and Guillaume Excoffier of Gabriel & Guillaume told Dezeen. “Most great pieces usually go together if proportions work – and when one piece looks uneasy with another one, just add a third one.”10 homes that double up as galleries or artists’ workspaces
In the past decade, an increasing number of galleries and art shows have moved their showcases from traditional gallery spaces to domestic settings.
“Buyers, designers and decorators alike prefer to see pieces in situ and visualise a piece in a lived-in space, and the model residence is obviously the perfect platform to do this,” said FrenchCalifornia.The living room features ballet slipper pink walls
“With retail moving fast online, when you want to actually bring people to an exhibition, you need to offer them an experience,” Gabriel & Guillaume added.
“The coldness of a white cube does not do that. In comparison, getting into a home is always a more special moment. While you can see the pieces, you can also discover the way they go together and the curation of the space. The homely format definitely has more soul.”Tall windows in the bathroom offer views of the city beyond
This sentiment is echoed by the founders of Nomad, a travelling art fair founded in 2017 that showcases collectible design in exclusive villas and apartments.
Speaking about the fair’s residential context, Nomad co-founder Nicolas Bellavance-Lecompte told Dezeen: “What is good is that you can relate on a domestic scale with the objects. Most design collectors don’t buy for their storage for investment, they buy pieces to live with them. So to have them in a domestic environment is definitely perfect because you can relate to them.”
Photography by Douglas Friedman.Read more: More
- in Rooms
Friedman Benda showcases furniture pieces with a story to tell
A mirror-cum-observatory and a lockdown lounge chair with an integrated bar feature in an exhibition at New York’s Friedman Benda gallery that explores the value of design objects beyond just their practical use.The show, titled Split Personality, was curated by Alice Stori Liechtenstein and features furniture and homewares from 17 different designers.
Each piece was chosen because it has a symbolic value beyond what meets the eye, exploring topics from immigration to biodiversity loss through different materials and production methods.Top image: Split Personality is on view at Friedman Benda until 6 February. Above: Toomas Toomepuu contributed to the show
The exhibition focuses on the stories the objects have to tell, Liechtenstein told Dezeen, using chairs as an example.
“There are thousands of chairs and the most comfortable chair has already been invented and reinvented 100 times,” she said.
“So a lot of the time, what we want when we’re looking for a chair is not just something to sit on. But what makes an object particularly interesting are the stories it is able to tell once you have the time to discover them.”
In this way, Liechtenstein explains, the exhibition rejects the strict Bauhausian ideal of form over function. “We’re over it,” she said. “I see the message as a form of function.”Limited grasses table by Mischer’Traxler
Several of the projects on show are the culmination of extensive research projects, among them a coffee table from Viennese duo Mischer’Traxler. Protruding from its gridded frame are brass effigies of a near-extinct grass species known as agropyron cristatum, of which only around 200 specimens remain in Austria.Tour of design exhibition at historic Austrian castle with curator Alice Stori Liechtenstein as part of VDF
“They are only making five editions of this table because on each table there are 40 brass stems. So it’s a way of representing the number of plants that really exist in nature,” Liechtenstein explained.
“I think this kind of exercise is very useful because a lot of the time, we don’t realise what a number means until we see it visualised.”Christien Meindertsma grew the flax for this rug herself
Disillusioned with the fact that she couldn’t trace a piece of linen yarn back to the flax field where it originated, Dutch designer Christien Meindertsma decided to acquire a piece of land and grow the crop herself.
From her yield she created a chair and a series of textiles, including a shaggy rug on show at the gallery.
“For her, it’s not just about one rug,” said the curator. “The real design project is about making sure that she knows where the material is coming from, that it’s treated properly, that there are no damages to the environment.”Commonplace Studio’s Observatorium Mirror shows images of space
A more abstract exploration of our relationship to nature is the Observatorium Mirror by Commonplace Studio – an obsidian screen in which Liechtenstein says you can see yourself “just well enough to put lipstick on”.
Simultaneously, the mirror also shows NASA images of far-flung galaxies that visitors can zoom in and out of using a focus pin.
“We’re so used to seeing ourselves in the mirror and the mirror is all about you. Whereas in this instance, you’re really confronting yourself with the immensity of the universe and reflecting on the larger world,” added the curator.Arnaud Eubelen’s designs make use of abandoned building materials
Other designs subvert function in a literal way by repurposing objects for new uses, with Belgian designer Arnaud Eubelen assembling a light and side table from discarded building materials.Jonathan Trayte turns the American landscape into fantastical furniture
Similarly, Eindhoven-based Ismaël Rifaï made a bench by taping blankets and plastic bottles to an iron trolley frame, inspired by the inventive ways that goods are transported across the border in the Spanish autonomous city of Ceuta in Morocco.
Ismaël Rifaï’s bench uses rugs as upholstery
A small room off the main exhibition space is covered from floor to ceiling with checkered, plastic mesh bags, as is the furniture within it, creating the claustrophobic impression of stepping inside one of the bags themselves.
The installation by South African photographer Nobukho Nqaba is based on her Umaskhenkethe photo series and explores how these bags have come to act as emblems of migration, known by different names around the world – such as Ghana Must Go bags in Nigeria.Nobukho Nqaba created her installation especially for the exhibition
“They are always associated with immigrants and the people who use them are seen as homeless. And at the same time, the bags are a symbol of home because their home, most of the time, is carried in these bags,” said Liechtenstein.
“Although Nobukho is not a classic furniture designer, I think she really has a sense for what the symbology of an object can be.”Jonathan Trayte’s Kula Sour was another commission
Several pieces were commissioned especially for the exhibition, including a lounge chair by British designer Jonathan Trayte that can help to create a sense of escapism for its user during lockdown.
It features a built-in lamp, a bar with an icebox and a side table on which to prop a laptop, creating a kind of island onto itself that allows the user to pretend they’re somewhere more exotic.Wieki Somers also contributed to the show
Also taking part in the exhibition are Wieki Somers, Rich Aybar, Thomas Ballouhey, Emma Fague, Fernando Laposse, Chris Schanck, Brynjar Sigurðarson, Katie Stout, Soft Baroque and Toomas Toomepuu.
Split Personality is on view at Friedman Benda Gallery in New York until 6 February 2021. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.Read more: More
- in Rooms
Five standout pieces at the Ron Arad 69 exhibition
A Brexit-themed chair and a crumpled bin are some of the pieces to feature in an exhibition at Newlands House gallery that showcases 40 years of work by Israeli designer Ron Arad.The exhibition is titled Ron Arad 69, in honour of the designer’s 69th birthday in 2020, and showcases 50 standout pieces from his extensive oeuvre.
Some of the pieces date back to the 1980s, when Arad established his eponymous studio, while others are from the 90s and 2000s – as well as a select few works that were released as recently as last year.“For me, business is always a necessary evil” says Ron Arad
They are all displayed amongst the grounds and historic rooms of Newlands House, a 700-square-metre gallery in West Sussex which occupies a heritage-listed Georgian townhouse and its adjoining coach house.
It is headed up by creative director Simon De Pury, who says it was an obvious choice to create a show around Arad’s work.
“Ron Arad is a giant in his field,” Pury told Dezeen.”He has developed his uniquely personal language; while he has been copied by many, his work remains strong and timeless.”
The pieces in the exhibition have not been arranged in chronological order, but simply placed where Pury felt they looked best in the gallery.
“It’s not a retrospective, it’s a sampling of works that I personally love from Ron’s career,” Pury explained.
“I greatly look forward to seeing the contrast between the 19th-century architecture of the gallery and the resolutely 21st-century feel of Arad’s dazzling and bold works,” he continued.
“I hope visitors will enjoy experiencing the beauty, elegance and also the sense of humour of his amazing work in the intimate setting of a house that helps the viewer imagine what it would be like to live with it.”
Read on to get a glimpse of five works that feature in the exhibition:Now What, 2020
More colloquially known as the Brexit Chair, Now What is haphazardly plastered with clippings of newspapers that were released on Friday 31 January 2020 – the day that Britain left the European Union.
Now What’s rounded seat and Mickey Mouse-shaped backrest riffs off the curvaceous form of Arad’s Big Easy chair, which was designed back in 1988.Where Are My Glasses?, 2018
These ombre-effect coloured vases were originally launched during the 2018 edition of Milan Design Week.
To create them, Ron Arad asked experts working at Italian glassware brand Venini to blow glass through metal-frame spectacles – the spectacles act almost like a taut belt, which forces the vase to bulge outwards at the sides.Photo by Gary Morrisroe
Blame The Tools, 2013
Arad’s Blame The Tools sculpture is shaped to resemble a life-sized Fiat 500 car. Crafted from stainless-steel sheets and rods, the gridded sculpture is so heavy that it had to be hoisted by a crane into Newlands House’s front garden.
“I like to imagine how this car would look if it stayed here and we let nature do its work, eventually you’d have vegetation growing through it,” said Pury.Crash Bin, 2006
Danish retailer Vipp asked Ron Arad to customise one of its bins for a charity auction 15 years ago.
Instead of making aesthetic changes, the designer crushed the product from the top down, making deep dents in its silver-metal exterior. Arad’s signature appears just above the bin’s foot pedal.The Rover Chair, 1981
Found objects were used to form The Rover chair, which is the first piece of furniture to be designed by Arad.
The chair’s worn leather seat was taken from a Rover P6 car, while its tubular steel frame is made from Kee Klamps that were once part of a milking stall for farm animals.
Photography is courtesy of Elizabeth Zeschin unless stated otherwise.
Ron Arad 69 is at Newlands House, UK, from 19 September 2020 until 7 March 2021, but the gallery is currently closed due to Covid-19. For more architecture and design events, visit Dezeen Events Guide.Read more: More
