Yesterday’s fan photo uploaded on our Facebook page features (most likely) the youngest new owner of Twin stopper by Sam Hecht. Twin stopper is great if you have kids running around, since it sticks out less making them less likely to trip over it. That should keep them smiling.
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Why did Centraal Museum acquire the Red blue Lego chair?
Firstly, because it is inspired by Rietveld who is the most important artist in our collection, and secondly, because we are interested in the more conceptual branch of design. We were the first museum to buy the Droog collection, already in the 90s. The Red blue Lego chair is the perfect combination of these two aspects.
How do you see the piece in relation to the work of Rietveld?
I see more value in the artistic qualities of this chair than in its industrial aspect—in its promise of having people do-it-themselves. I believe Rietveld valued the spatial aspect of design as much as he valued the principles of mass production.
I don’t think it is realistic that people will buy their own Lego pieces to make it, but to me, that doesn’t matter. It is the intention and meaning that counts. It stimulates people to think about design and what it means to them.
Red and Blue Chair by Gerrit T. Rietveld (1918), Red blue Lego chair by Mario Minale (2004).
How do you see the chair in relation to movements in the world today?
I think it’s better to compare the Red blue Lego chair to the Smoke version by Maarten Baas (that’s also how we show it at the Rietveld’s Universe exhibition). Rietveld was a master that made and continues to make people think about design. His presence in works by contemporary designers and in design discussions shows the actual value of Rietveld today. To me, that is the most important value of this piece.
Smoke chair by Maarten Baas (2004)
Centraal Museum Utrecht acquired the artist’s proof #1 edition of Red blue Lego chair from our collection. It will be exhibited at Rietveld’s Universe as part of Rietveld Year organized by the Centraal Museum in Utrecht to celebrate the life and heritage of Gerrit Rietveld from October 20th, 2010 until January 30th, 2011. Here is our Q&A with Rotterdam-based designer, Mario Minale of Minale-Maeda (pictured with Kuniko Maeda).
What was your starting point for this chair?
There is this expression in the world of theatre, “breaking the fourth wall.” It’s about bringing in something unexpected. It’s about addressing the audience, taking them out of their lull and involving them, even passing the responsibility onto them.
What I don’t like about icons is that we just accept them, and we no longer know what they mean, and then they are copied time and time again. I was looking for something unexpected in making a copy of an icon. I wanted to break the mould and no longer see an icon as something set in stone.
What was “the fourth wall” in your design?
It was the appropriation of two icons in a way that creates something new. I started with Rietveld’s iconic Red blue chair and brought in equally iconic Lego blocks, and I think because the spirit of Rietveld and of Lego aligned, it created a breed that resonates.
Why did you work with Rietveld’s chair?
Rietveld intended his chair to be a blueprint from which anyone could make his own chair out of readily available material. For Rietveld, variations of his design were intended. That is why the construction of his chair is so simple. There are no dovetails or other complicated joinery.
Why did you bring in Lego?
Lego represents the construction material of our age—it is convenient. It makes personal expression easy. It is a material that empowers the unqualified to create by themselves.
For Rietveld, it was boards cut to size at the sawmill that made his design accessible. One no longer had to go to the woods to chop a tree thanks to industry. For us, it is no longer about cutting and sawing, but rather about blocks that snap together, shiny finish included. Rietveld broke the chair into 14 pieces to make it easy. Lego breaks it into 4445 pieces, which makes it even more easy.
Was it in fact easy to make this chair?
Not at all. Lego is a basic toy, but the process of making a chair out of it became so complicated that it questioned the simplicity that Lego promised. The process I went through makes the chair an even more authentic copy. The result of making a copy is not a copy. It’s an authentic act.
Lego has the same tension. It stands for simplicity, but the moulds to make Lego are a best kept secret, and that’s why there are no knock-offs. One cannot get rid of complexity but can only displace it. This chair is a metaphor for that.
What do you think of the copyright laws that prevented a larger production of the Lego chair?
One cannot get the Rietveld chairs anymore. Finding a way to copy it makes it accessible, and this was my intention. The fact that copyright laws prevented us from making a larger production of the Red blue Lego chair intensifies this discussion.
Centraal Museum Utrecht acquired one piece of each item from the saved by droog. collection we presented at the Furniture Fair in Milan this year. Their acquisition is currently on view at the Centraal Museum until October 31st.
As published by Centraal Museum:
The Centraal Museum is very much interested in Droog’s critical attitude with regard to social structures. Centraal Museum director Edwin Jacobs: “With saved by droog., Droog presents a beautiful prosaic image of this time of financial crisis. After all, not everything that is created has to be new, you can also add new value to something that already exists. Because of interventions by the designers, these objects have become new products. They are conceptually strong, visually direct and aesthetically adventurous and stratified.” As is always the case with Droog, the result is a product that also takes into account the great importance of the concept behind it. This way, Droog represents, since its establishment in 1993, the conceptual character of Dutch design. It is this manner of designing which brought the design group international fame. Both national and international designers have joined the label.
In their recent review of the collection, design.nl stated:
The exhibition both in Milan and now at the Centraal Museum catches the genius of Droog. It is a contemporary yet critical embrace of design in a difficult era.
“I think the whole thing takes humorously advantage of a changed cultural and financial landscape,” says Stefan Sagmeister who printed words on a wallet about money and happiness that combined into different meanings depending on whether the wallet was open or closed.
Stefan Sagmeister does not think his wallet will change design thinking just yet. “It wont change anything as far as the manufacturing world itself is concerned,” he says. “But considering Droog is a rather influential force, the strategy of reusing an existing product – rather then designing a brand new one – might trigger similar projects within the broader design community.”
“We like the whole project because it is an observation about design yet also commercially successful,” says Mario Minale. “That is a rare combination … They had to stop selling the pieces in the end because they wouldn’t have then had anything left to exhibit.”
Great to see Milk bottle lamp in the trailer for the European Design Since 1985 exhibition. It’s on view at The Milwaukee Art Museum until January 9th, 2011.
For more information click here.
This week we have released Twin Stopper by Sam Hecht of Industrial Facility. Simply clever, Twin stopper has asymmetrical ends to deal with varying gaps between doors and floors in a compact way. Whatever you are using now, this will certainly be more elegant, not to mention safer.
Could you tell us about the philosophy behind your work?
The philosophy is simple. The world we inhabit; the people who inhabit it; the things people use to inhabit it. None of these are better or worse than the other. They are all equal. When you reach this realisation it means that a chair is no more or less important than the person sitting on it, or the room it sits in. So for a doorstop, it should relate to the door as much as relating to the room and the feet walking past.
What are your influences?
Conversations are undoubtedly my biggest influences. I have many and continue to use them as a basis for reasoning.
What was your inspiration behind the Twin stopper?
One can say a doorstopper is extremely banal. It has been with us for so long. But, what can often frustrate people about them is that the wedge inevitably sticks out too much because of the varying gap between the door and the floor, and you trip over them. To generate the form, I took a regular doorstop, cut it in half and attached both ends at right-angles. Depending on the gap size, you can turn it and the doorstop will always stay close to the door.
How do you think the Twin stopper relates to Droog?
The way I like to think of Droog is that they interject with issues of everyday life—dealing with doorbells, tablecloths, and now a doorstopper. I like the unpretentious side of Droog, and I like that one does not have to think too much about buying the Twin stopper because it is affordable. It’s a small interjection – nothing too dramatic – but it at least it makes a little bit of improvement on what’s gone before.
How do you see that your work relates to various design trends today?
There are many products that keep coming out where their starting point is novelty. It seems designers have forgotten the original purpose of what they are designing. I personally tested the doorstop for over a year. It is what it is because of how it works and not all because of how it looks.
Do you have a message to young product designers?
In some ways, it’s better to apply one’s mind to forgotten objects–the things we “use” everyday, rather than the things we “look at”. The effect on the world is of improving it ever so slightly without using a lot of resources. I think Droog has always been an inspiration to young designers because they negated the bourgeois in favour of democratic creativity. Young people could finally relate to a type of design that related to them as individuals.