By Barbara Glasner, Stephen Ott
ISBN-10: 3034610890
ISBN-13: 9783034610896
Wooden has the ability to fascinate and encourage. From time immemorial, this flexible and renewable uncooked fabric has been utilized by designers from each self-discipline. at the present time, new completing applied sciences are broadening the variety of its makes use of and making stunning strategies attainable. ask yourself wooden provides this undying fabric because it is getting used this day, and records a range of a few 100 present foreign initiatives by means of celebrated designers, architects, and artists whose cre-ative and leading edge method of the fabric makes their paintings compelling. For chosen initiatives, interviews with the designers offer an in-depth examine the artistic method and its effects. A moment part shines a focus on chosen woods, wood-based fabrics, wooden composites, and completing applied sciences and offers venture examples that use them. An alphabetical index presents heritage details at the designers represented within the publication.
One hundred cutting edge wooden development initiatives by way of Konstantin Grcic, Stefan Diez, Martino Gamper, Tord Boontje, Ronan & Erwan Bouroullec, Hella Jongerius, SANAA, Maarten Baas, Fernando & Humberto Campana, Pierre Charpin, Matali Crasset, Peter Marigold, Jürgen Mayer H., Jasper Morrison, Stephan Balkenhol, Rolf Sachs, Studio task, Patricia Urquiola, Ai Weiwei, Richard Woods, Sebastian fallacious, and others.
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Extra info for Wonder Wood: A Favorite Material for Design, Architecture and Art
Example text
When a material is invented, for example a new plastic, it can lead to a completely original formal language. Or, another example is the demise of the light bulb in favor of LED and OLED technology, which is triggering substantial changes in form. None of this happens or will probably ever happen to wood. Technologically speaking, wood or woodbased materials do not and probably never will undergo novel advancements. There are no wood or wood-based materials invented on a yearly basis, which are easy to work with.
I was always worried that a backrest that is too thin looks cheap. So we clearly wanted a backrest of a certain thickness. But then Becker said that the three or four additional layers of wood required for this idea would almost double the price. How did you arrive at the final, thinner solution? And are you satisfied with this result formally ? Yes, very much so. Because then something happened which is so obvious that I’m almost afraid to admit it. Becker’s technological experts asked why we weren’t exploiting the flexibility of molded plywood.
Did you have any experience with plywood before making the chair ? Well I thought I had experience with the material. But we soon found out that we’d practically have to start from the beginning for this task. We had meetings with the company Fritz Becker KG where, I believed, we were presenting a functioning product. But they explained that the production of the pressing tool would be so complex and expensive that it would make the price of the chair skyrocket. For instance, the number of layers of wood you have is crucial to calculating a price.