By Barbara Glasner, Stephen Ott

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. this day, new completing applied sciences are broadening the variety of its makes use of and making superb ideas attainable. ask yourself wooden provides this undying fabric because it is getting used this day, and records a variety of a few 100 present overseas initiatives via celebrated designers, architects, and artists whose cre-ative and leading edge method of the fabric makes their paintings compelling. For chosen tasks, interviews with the designers supply an in-depth examine the artistic procedure and its effects. A moment part shines a focus on chosen woods, wood-based fabrics, wooden composites, and completing applied sciences and offers undertaking examples that use them. An alphabetical index presents heritage details at the designers represented within the booklet.

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 activity, Patricia Urquiola, Ai Weiwei, Richard Woods, Sebastian incorrect, and others.

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For this reason, the artistic process is completely legible on the surface of the work. I work on a scale of one to one. What I do is the result itself. At the same time, this way of working allows the greatest level of freedom and independence. I can work alone, without assistants and without specialist companies, such as a foundry; I can also work in sync with my own artistic decisions, meaning I don’t have to depend on anyone to make a sculpture. What, in your opinion, is the difference between wood and other traditional sculpture materials ?

The challenge we faced making the WOGG 50 chair, was to push the production technology to its limits and to design a contemporary form for the year 2010, and not a chair that could have been produced just as easily in the 1950s. Charles and Ray Eames achieved excellent results with molded plywood. What were the technological and formal crunch points for you ? The price range for this chair was set very low, which was related to it being mass-produced. Combining price, technology, and the formal aspects—which is why I said that wood is tricky—was very challenging.

CNC technology has actually opened a new field in the area of formal design, but, on the whole, wood remains fairly antiquated. It is still a process that involves skilled craftsmanship, even though it can now be processed in a more industrial manner than previously. But I think this long tradition of woodworking is precisely that, which poses a challenge to designers to find new ways of working with a material that does not per se make great technological strides. The WOGG 50 chair could not have been produced without the modern technology you mentioned.

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