Made Mag Vol 1 by Nassú Marte

the chair issue

APRIL 17 - vol. 09

made

made v1 meet

Phillipe Starck

The mastermind behind some of the past century’s most iconic pieces is here to delight our sensibilities. pg.

Barnabas Fornasetti

The son of the legendary Piero keeps his father’s dream alive and strong for another generation pg.

know

The Chair Issue

The history of one of mankind’s most used and appreciated devices. The who’s who of chairdom. pg.

W. W. Stool (1990) by Philippe Starck for Base

go The Cooper Hewitt Design Museum One of New York’s unsung heroes. We visit Carnegie’s old hangout for a sneak peek at what makes it truly legendary. pg.

Salone de Mobile Milano One-stop shopping for a crowd with only the most exquisite of tastes. pg.

m eet

Phillipe Starck

Barnabas Fornasetti

PHILIPPE STARCK

Phillipe Starck, 2016. Alesso Basetti

in Milan and at the Ecole Nationale des Arts Décoratifs in Paris, Philippe Starck is respected for the originality, rigour and quality of his work.

01 MEET

Today his name and personality almost belong to the general public, with a waxwork statue in the Grevin Museum in Paris. For everyone Philippe Starck embodies the desire for a better life, here and now of course, but also for tomorrow.

CHAISE D’LAVES BY STARCK

A career rich with 10,000 creations completed or yet to come - global fame and tireless protean inventiveness should never overshadow the essential, Philippe Starck has a mission, a vision:

A polymorphic designer, a nomad perpetually travelling the world with his wife and muse Jasmine, always present where he is least expected (just like in life, “that’s what happens when we do other projects”, joked John Lennon), always looking for natural elegance and a hero of democratic obligation, Philippe Starck will never give up his hopes, desires, visions and duties and shows himself to be an honest man directly descended from Renaissance artists. From high technology for the individual to necessary mobility, from food, housing, energy production and even clothing, there is no aspect of our daily lives in all its implications that has escaped his visionary, poetic and subversive approach. Nothing human is foreign to him. Everything concerns Philippe Starck. From a precocious consciousness of our perilous lifestyles he has drawn even more energy and a will to share his vision: that which is inscribed in the “big picture” of the history of our evolution. A major figure on the world’s cultural stage, exhibited in the biggest museums (the Pompidou Centre, the Guggenheim and MoMA in New York and the MoMA in Kyoto...), at the avant-garde of contemporary environmental concerns and responsibility, the subject of numerous books, omnipresent in the media, professor at the Domus Academy

that creation, whatever form it takes, must improve the lives of as many people as possible. Starck vehemently believes this poetic and political, rebellious and benevolent, pragmatic.

#STARK\DESIGN #MOBILE #OBJECTIVEMAN #FUTUREINVENTORS

He sums it up with the humour that’s set him apart from the very beginning: “No one has to be a genius, but everyone has to participate.” In the eyes of this accomplished citizen of the world, sharing his ethical and humanist vision of a more equal planet is a duty, if not a moral imperative, that results in unconventional projects, bearing fertile surprises. It’s easy to guess his course of action: an object must be useful before being beautiful.

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“A MYATERIOUS RUSSIAN HACKER STOLE A FORTUNE FROM U.S. BANKS. THEN FBI DISCOVERED WHAT ELSE HE WAS AFTER.”

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Just look at the mega-yacht A, symbol of minimalist elegance, or the Zik earphones for Parrot. He dreams of solutions so vital that he was the first French man to be invited to the TED conferences (Technology, Entertainment & Design) alongside renowned participants including Bill Clinton and Richard Branson. Inventor, creator, architect, designer, artistic director, Philippe Starck is certainly all of the above, but more than anything he is an honest man directly descended from the Renaissance artists. “My father was an aeronautical engineer. For me, that made invention a duty”. Philippe Starck

Phillipe Starck, 2016. Alesso Basetti

01 MEET

INOVO

Phillipe Starck, 2016. Alesso Basetti

lorehenet, cuptas disitaturis denda cus, omnis nis soluptatium quamet experum aturepro deserro quatqui iuriat quia debis et at doluptu ritioru ntibus et fuga. Ut ma de reperovit, quaspelibus.

CAPTUM lorehenet, cuptas disitaturis denda cus, omnis nis soluptatium quamet experum aturepro deserro quatqui iuriat quia debis et at doluptu ritioru ntibus et fuga. Ut ma de reperovit, quaspelibus. lorehenet, cuptas disitaturis denda cus, omnis nis soluptatium quamet experum lorehenet, cuptas disitaturis denda cus, omnis nis soluptatium quamet experum aturepro deserro quatqui iuriat quia debis et at doluptu ritioru ntibus et fuga. Ut ma de reperovit, quaspelibus. aturepro deserro quatqui iuriat quia debis et at doluptu ritioru ntibus et fuga.

Phillipe Starck, 2016. Alesso Basetti

ROZZA

lorehenet, cuptas disitaturis denda cus, omnis nis soluptatium quamet experum aturepro deserro quatqui iuriat quia debis et at doluptu ritioru ntibus et fuga. Ut ma de reperovit, quaspelibus.

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PIERO FORNASETTI

Piero Asimbu 2016. Alesso Basetti

01 MEET He lived most of his life in Milan, attending the Brera Art Academy from 1930-32 when he was expelled for insubordination. During World War II, he went into exile in Switzerland from 1943-46. He created more than 11,000 items, many featuring the face of a woman, operatic soprano Lina Cavalieri, as a motif. Fornasetti found her face in a 19th-century magazine. “What inspired me to create more than 500 variations on the face of a woman?” asks Italian designer, Piero Fornasetti of himself. “I don’t know,” he admits, “I began to make them and I never stopped.” The “Tema e Variazioni” (theme and variation) plate series based on Cavalieri’s face numbered more than 350. Other common features in his work include heavy use of black and white, the sun and time. His style is reminiscent of Greek and Roman architecture, by which he was heavily influenced. Today it is most common to see Fornasetti’s style in fashion and room accessories such as scarves, ties, lamps, furniture, china plates and tables. His son, Barnaba Fornasetti, continues to design in his father’s NAME. SUS TEMAS. Para Fornasetti, una sola idea proporcionaba suficiente inspiración como para crear infinitas versiones. De hecho, una gran parte de sus trabajos son constantes evoluciones de temas concretos. Muchos son los motivos que utilizó –soles, monedas, instrumentos musicales, arlequines–, pero el más famoso y con el que se le asocia de inmediato es el bello y enigmático rostro de una mujer, la cantante de ópera Lina Cavalieri, cuya imagen descubrió hojeando una revista francesa del siglo XIX. Convertida en su musa, creó con ella una serie de 350 variaciones que llamó Tema & Variazioni y que utilizó en todo tipo de piezas. LA MARCA FORNASETTI. El legado del artista italiano lo mantiene hoy su hijo Barnaba, quien continúa desde el atelier con las rigurosas técnicas de producción artesanal en las reediciones limitadas que se hacen cada año. Barnaba es el responsable también de las llamadas reinvenciones, nuevos diseños que utilizan, no obstante, los elementos e imágenes del archivo histórico de Fornasetti y que se pueden encontrar, junto con piezas clásicas, en el showroom de la firma en Milán.

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No tengo idea qué año corría, pero la primera vez que vi unos platos Fornasetti fue en la casa de unos tíos. Tenían una pequeña colección. Me acuerdo que quedé fascinada con su grafismo en blanco y negro. Lo que veía era precisamente la serie más famosa de esta casa italiana -que ha creado por casi 60 años diversos objetos que van desde vajillas, pasando por botones a alfombras o muebles-: Tema e Variazoni, que se inspira en el rostro de Lina Cavalieri. Con los años, las reconocí en distintos lugares, libros, películas, revistas; pero la sorpresa más linda fue descubrirlas en La Chascona, tal cual, la casa de Pablo Neruda. El poeta sibarita y coleccionista del alma, era un amante de las piezas diseñadas por Piero Fornasetti. Neruda las coleccionó a partir de los 60, se dice que incluso hay cartas entre el premio Nobel y el milanés creador de lo que se considera una reinvención posmoderna del preciosismo italiano, si de ornamentación se trata. Piero Fornasetti fue pintor, escultor, decorador de interiores, grabador de libros y creador de más de 11.000 productos. Además de las variaciones de la cara femenina, hay otras temáticas recurrentes como el uso del blanco y negro, el sol, el tiempo y una evocación clara a lo neoclásico. El Atelier Fornasetti en Milán continúa trabajando artesanalmente, con las mismas técnicas que Piero utilizó desde el comienzo en su taller. El color es aplicado a mano y los patrones originales en papel son los mismos desde los años 30. La mayoría de los muebles y los objetos son reediciones de los diseños originales creados por Piero Fornasetti. Los objetos que se catalogan como `re-invención´, son los diseños creados por Barnaba Fornasetti, su hija, usando los elementos decorativos y las imágenes que se encuentran en el archivo familiar.

a la insistente variación de la cara femenina. La historia comenzó cuando Piero miraba una revista francesa del siglo XIX y quedó fascinado con esta mujer, con el arquetipo femenino, las características clásicas y expresión enigmática de Lina Cavalieri, su musa. El poeta sibarita y coleccionista del alma, era un amante de las piezas diseñadas por Piero Fornasetti. Neruda las coleccionó a partir de los 60, se dice que incluso hay cartas entre el premio Nobel y el milanés creador de lo que se considera una reinvención posmoderna del preciosismo italiano, si de ornamentación se trata. Piero Fornasetti fue pintor, escultor, decorador de interiores, grabador de libros y creador de más de 11.000 productos. Además de las variaciones de la cara femenina, hay otras temáticas recurrentes como el uso del blanco y negro, el sol, el tiempo y una evocación clara a lo neoclásico. El Atelier Fornasetti en Milán continúa trabajando artesanalmente, con las mismas técnicas que Piero utilizó desde el comienzo en su taller. El color es aplicado a mano y los patrones originales en papel son los mismos desde los años 30. La mayoría de los muebles y los objetos son reediciones de los diseños originales creados por Piero Fornasetti. Los objetos que se catalogan como `re-invención´, son los diseños creados por Barnaba Fornasetti, su hija, usando los elementos decorativos y las imágenes que se encuentran en el archivo familiar. Más de una vez le preguntaron a Fornasetti ¿por qué? El sólo respondía, “no lo sé, un día comencé y nunca más paré”. Esto, respecto a la insistente variación de la cara femenina. La historia comenzó cuando Piero miraba una revista francesa del siglo XIX y quedó fascinado con esta mujer, con el arquetipo femenino, las características clásicas y expresión enigmática de Lina Cavalieri, su musa.

Más de una vez le preguntaron a Fornasetti ¿por qué? El sólo respondía, “no lo sé, un día comencé y nunca más paré”. Esto, respecto

know

THE FAMOUS OF 2017

THE 10

THE CHAIRS HISTORY WILL REMEMBER AS THE MOST ICONIC.

Caught yourself admiring a chair at your local cafe or office lounge? Seen it in more than one place? Chances are, itâ&#x20AC;&#x2122;s a famous chair design that has made its mark in history. Beyond comfort, these chairs can define or uplift the whole mood and aesthetics of your space. So, here are our picks for the top 8 iconic chairs of the 20th century and 21st century:

MODEL 3107 This is the chair that stirred the design world with its curves, and copies can now be found everywhere

02 KNOW

OUR STORY

Ning Li first came up with the idea of MADE. COM when trying to kit out his own flat in Paris. Frustrated by the lack of inexpensive good quality furniture, he felt there had to be an alternative. United by their appreciation of good design, the team set about re-defining the process. The concept was obvious: simplify things, work directly with the makers and bring high-end lifestyle design to everyone, everywhere at a fair price. We welcome the anti-ordinary, the surprising and the standalone. Thoughtfully designed, timeless and versatile, our collections are designed to outlive trends and evolve with your changing style. Attention to detail is everything. We debate the intricate details that make a product iconic and create exceptional pieces for everyday life. Itâ&#x20AC;&#x2122;s a labour of love, but weâ&#x20AC;&#x2122;re only happy when a product is good enough for our own homes.

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LOUIS GHOST CHAIR Philippe Starck may not necessarily have made for good TV in BBC2’s reality series, Design for Life, but he does make pretty good chairs. The Louis Ghost chair is the best example of a modern take on an old classic – baroque-inspired, extravagant but still subtle, this is elegant and oh-so-very cool

02 KNOW The history of chairs started In ancient Egypt chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials and supported upon representations of the legs of beasts or the figures of captives. Egyptians believed that the chairs need to represent natural forms to avoid creating chaos in the universe, by creating an artificial object. This tendency is seen all over Egyptian art and manufacture.[citation needed] An arm-chair in fine preservation found in a tomb in the Valley of the Kings is astonishingly similar, even in small details, to that “Empire” style which followed Napoleon’s campaign in Egypt. The earliest monuments of Nineveh represent a chair without a back but with tastefully carved legs ending in lions’ claws or bulls’ hoofs. Others are supported by figures in the nature of caryatides or by animals. The history of chairs started In ancient Egypt chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials.

OMSTAK CHAIR These Omstak chairs, or Omks, are cute and cheerful – a pair of red ones would definitely liven up a little kitchen. They even stack up, so they’ll save on space too. One type of chair in ancient Mexico is called the icpalli and is mentioned by Jacques Soustelle. The Daily Life of the Aztecs. p. 122. The icpalli can be seen in Diego Rivera’s mural of the Aztec market of Tlatelolco, Palacio Nacional, Mexico City. The icpalli is also featured in the Codex Telleriano-Remensis; dignitaries and emperors are depicted sitting in them. The chair of Maximian in the cathedral of Ravenna is believed to date from the middle of the 6th century. It is of marble, round, with a high back, and is carved in high relief with figures of saints and scenes from the Gospels—the Annunciation, the Adoration of the Magi, the flight into Egypt and the baptism of Christ. The smaller spaces are filled with carvings of animals, birds, flowers and foliated ornament. The Chair of St. Augustine, dating from at least the early thirteenth century[2] is one of the oldest cathedrae is not in use.

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The Eames lounge chair has 1950s retro written all over it; reminiscent of something you’d find in a smoky gentleman’s club, this is definitely something for the boys.

02 KNOW Another very ancient seat is the so-called “Chair of Dagobert” in the Louvre. It is of cast bronze, sharpened with the chisel and partially gilt; it is of the curule or faldstool type and supported upon legs terminating in the heads and feet of animals. The seat, which was probably of leather, has disappeared. Its attribution depends entirely upon the statement of Suger, abbot of St Denis in the 12th century, who added a back and arms. Its age has been much discussed, but Viollet-le-Duc dated it to early Merovingian times, and it may in any case be taken as the oldest faldstool in existence. To the same generic type belongs the famous abbots’ chair of Glastonbury; such chairs might readily be taken to pieces when their owners travelled. The faldisterium in time acquired arms and a back, while retaining its folding shape. The most famous, as well as the most, ancient, English chair is that made at the end of the 13th century for Edward I, in which most subsequent monarchs have been crowned. It is of an architectural type and of oak, and was covered with gilded gesso which long since disappeared. Passing from these historic examples we find the chair monopolized by the ruler, lay or ecclesiastical, to a comparatively late date. As the seat of authority it stood at the head of the lord’s table, on his dais, by the side of his bed. The seigneurial chair, more common in France and the Netherlands than in England, is a very interesting type, approximating in many respects to the episcopal or abbatial throne or stall. It early acquired a very high back and sometimes had a canopy. Arms were invariable, and the lower part was closed in with panelled or carved front and sides—the seat, indeed, was often hinged and sometimes closed with a key.

“

We believe that great design is for everyone. It surprises, tells a story and makes the everyday a little less ordinary

“

EAMES LOUNGE CHAIR

That we are still said to sit “in” an arm-chair and “on” other kinds of chairs is a reminiscence of the time when the lord or seigneur sat “in his chair.” These throne-like seats were always architectural in character, and as Gothic feeling waned took the distinctive characteristics of Renaissance work. The furniture makers also covered their crude work with gold which is called gilding.

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CHILD’S BUCKET CHAIR Little people don’t have to miss out on design classics – Molly-Meg has a fabulous collection of retro chairs for children. This 1960s bucket chair is a one-off, but they also have original mini-Knolls and Ercols

02 KNOW

THE BARCELONA CHAIR If you take it out of its office reception context, the Barcelona chair is actually one stunningly seductive piece of design with smooth leather made for curling up on. The original design was made for Spanish royalty, who presumably sat on it with decorum

LE CORBUSIER CHAISE

You could not walk past a Le Corbusier chaise without instantly wanting to drape yourself all over it. It’s smooth, chic and very, very sexy

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LE CORBUSIER ARMCHAIR The Swiss loved Le Corbusier so much that they put this very chair on their postage stamps. The style of this armchair, with the metal frame placed outside, has been imitated in high-street furniture stores. The original chair was celebrated for its masculine but very modernist design .

02 KNOW

In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a mark of high office, and became the customary companion of whoever could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. We find almost at once began to reflect the fashions of the hour. No piece of furniture has ever been so close an index to sumptuary changes. It has varied in size, shape and sturdiness with the fashion not only of women’s dress but of men’s also. Thus the chair which was not, even with its arms purposely suppressed, too ample during the several reigns of some form or other of hoops and farthingale, became monstrous when these protuberances disappeared. Again, the costly laced coats of the dandy of the 18th and early 19th centuries were so threatened by the ordinary form of seat that a “conversation chair” was devised, which enabled the buck and the ruffler to sit with his face to the back, his valuable tails hanging unimpeded over the front[citation needed]. The early chair almost invariably had arms, and it was not until towards the close of the 16th century that the smaller form grew common. The majority of the chairs of all countries until the middle of the 17th century were of timber (the commonest survival is oak)[4] without upholstery, and when it became customary to cushion them, leather was sometimes employed; subsequently velvet and silk were extensively used, and at a later period cheaper and often more durable materials. . In Abraham Bosse’s engraving (illustration, left), a stylish Parisian musical party of about 1630 have pulled their low chairs (called “backstools” in contemporary England) away from the tapestry-hung walls where they were normally lined up. The padded back panels were covered with needlework panels to suit the tapestries, or in other settings with leather, plain or tooled. Plain cloth across the back hid the wooden framing. Stools with column legs complement the set, but aren’t en suite. In seventeenth century France the bergere chair became fashionable among the nobility and was often made of walnut. Leather was not infrequently used even for the costly and elaborate chairs of the faldstool form—occasionally sheathed in thin plates of silver—which Venice sent all over Europe. To this day, indeed, leather is one of the most frequently employed materials for chair covering. The outstanding characteristic of most chairs until the middle of the 17th century was massiveness and solidity. Being usually made of oak, they were of considerable weight, and it was not until the introduction of the handsome Louis XIII chairs with cane backs and seats that either weight or solidity was reduced.

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FORNASETTI

CONVERSATION WITH PHILLIPPE STARCK

MOBILE 2018

03 GO

MOBILE The Swiss loved Le Corbusier so much that they put this very chair on their postage stamps. The style of this armchair, with the metal frame placed outside, has been imitated in high-street furniture stores. The original chair was celebrated for its masculine but very modernist design . In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a mark of high office, and became the customary companion of whoever could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. We find almost at once began to reflect the fashions of the hour. No piece of furniture has ever been so close an index to sumptuary changes. It has varied in size, shape and sturdiness with the fashion not only of women’s dress but of men’s also.

| MADE MAG VOL.1 | 03 GO |

The majority of the chairs of all countries until the middle of the 17th century were of timber (the commonest survival is oak)[4] without upholstery, and when it became customary to cushion them, leather was sometimes employed; subsequently velvet and silk were extensively used, and at a later period cheaper and often more durable materials. . In Abraham Bosse’s engraving (illustration, left), a stylish Parisian musical party of about 1630 have pulled their low chairs (called “backstools” in contemporary England) away from the tapestry-hung walls where they were normally lined up. The padded back panels were covered with needlework panels to suit the tapestries, or in other settings with leather, plain or tooled. Plain cloth across the back hid the wooden framing. Stools with column legs complement the set, but aren’t en suite. In seventeenth century France the bergere chair became fashionable among the nobility and was often made of walnut. Leather was not infrequently used even for the costly and elaborate chairs of the faldstool form—occasionally sheathed in thin plates of silver—which Venice sent all over Europe. To this day, indeed, leather is one of the most frequently employed materials for chair covering.

he 17th century were of timber (the commonest survival is oak)[4] without upholstery, and when it became customary to cushion them, leather was sometimes employed; subsequently velvet and silk were extensively used, and at a later period cheaper and often more durable materials. . In Abraham Bosse’s engraving (illustration, left), a stylish Parisian musical party of about 1630 have pulled their low chairs (called “backstools” in contemporary England) away from the tapestry-hung walls where they were normally lined up. The padded back panels were covered with needlework panels to suit the tapestries, or in other settings with leather, plain or tooled. seventeenth century France the bergere chair became fashionable among the nobility and was often made of walnut.

03 GO

“

We believe that great design is for everyone. It surprises, tells a story and makes the everyday a little less ordinary

03 GO

Thus the chair which was not, even with its arms purposely suppressed, too ample during the several reigns of some form or other of hoops and farthingale, became monstrous when these protuberances disappeared. Again, the costly laced coats of the dandy of the 18th and early 19th centuries were so threatened by the ordinary form of seat that a “conversation chair” was devised, which enabled the buck and the ruffler to sit with his face to the back, his valuable tails hanging unimpeded over the front[citation needed]. The early chair almost invariably had arms, and it was not until towards the close of the 16th century that the smaller form grew common. The majority of the chairs of all countries until the middle of the 17th century were of timber (the commonest survival is oak)[4] without upholstery, and when it became customary to cushion them, leather was sometimes employed; subsequently velvet and silk were extensively used, and at a later period cheaper and often more durable materials. . In Abraham Bosse’s engraving (illustration, left), a stylish Parisian musical party of about 1630 have pulled their low chairs (called “backstools” in contemporary England) away from the tapestry-hung walls where they were normally lined up. The padded back panels were covered with needlework panels to suit the tapestries, or in other settings with leather, plain or tooled. Plain cloth across the back hid the wooden framing. Stools with column legs complement the set, but aren’t en suite. In seventeenth century France the bergere chair became fashionable among the nobility and was often made of walnut.

“

Leather was not infrequently used even for the costly and elaborate chairs of the faldstool form— occasionally sheathed in thin plates of silver—which Venice sent all over Europe. To this day, indeed, leather is one of the most frequently employed materials for chair covering.

| MADE MAG VOL.1 | 03 GO |

03 GO

Leather was not infrequently used even for the costly and elaborate chairs of the faldstool form—occasionally sheathed in thin plates of silver—which Venice sent all over Europe. To this day, indeed, leather is one of the most frequently employed materials for chair covering.

| MADE MAG VOL.1 | 03 GO |