RON ARAD: SPRING TO MIND ORGANIZE BY MOROSO
April 13th, 2016 - May 14th, 2016
April 13th, 2016 - May 14th, 2016
RON
ARAD: SPRING TO MIND ORGANIZE BY MOROSO
EXHIBITION
DESIGN MARCO VIOLA STUDIO
April 13th, 2016 - May 14th, 2016
April 13th, 2016 - May 14th, 2016
There
are almost thirty years of history between Moroso and Ron Arad, dozens of
products, projects, prototypes, endorsements, sketches, photos, videos,
materials: strongly iconic elements, and of course unique personalities, and an
almost frenzied search for opposition to the repetitiveness of conventional
aesthetics. Paths of shared transformation and complex landscapes that lie
somewhere between design, architecture and art, and that refuse to be
categorized: this was the starting point from which to plan the “SPRING TO
MIND” exhibition at Spazio Moroso on Via Pontaccio, Milan.
It was
created to be neither an educational project nor a scenographic exhibition, but
perhaps a cross between the two, a homage to the relationship between Moroso
and Ron Arad, embracing their strong inclinations.
The
exhibition is divided into three spaces, reflecting three different levels of
tension, in which the wonder for details provides a particular slant, and even
the smallest choice reflects the whole to which it belongs.
A video
installation immediately submerges us into a deformed digital world. In the
entranceway, an LED wall portrays the magically surreal relationship between
designer, idea, project, product and company. Distorting mirrors all around
amplify images, twist them and liquefy them, augmenting their hypnotically
rhythmic effect.
Sucked
into the visual vortex, we are ferried through a black tunnel into a world
where light barely exists, other than in specific spots, only on products,
deliberately emphasising their precious style, making them the only
protagonists of a story and of a relationship: that of Moroso with Ron Arad.
Still in the shadows, the rhythm continues: a box, closed, a gap through which
to access visions projected to infinity. Inside, exponential shapes cross,
overlap, merge: it all arises from one of the iconic products in the Moroso
collection, which here becomes a sculpture, its edges imperceptible.
Then
the dream gradually clears, and we are immersed into the third manifestation of
the fact that the designer belongs with this company: a clear, confident,
rhythmic and well-documented path that is home to prototypes, products,
interpretations of the same, pieces of the history of design, accompanied by
videos collected over the years, paper archives, blown-up images of the
company's story, and of the very history of design. This is the moment of an
exhibition created to narrate the genesis and evolution of a fantastic, true,
pioneering and metaphorical story.
Marco
Viola has been working with Moroso for 24 years, creating visual spaces,
installations, stands and images: a solid working relationship built on a
long-standing friendship and shared outlook with Patrizia Moroso.
All the sketches design by © Javier Marshall
http://www.moroso.it/salone-del-mobile-2016//
You may visit
Ron Arad’s exhibition news at Ivorypress and in reverse at Design Museum Holon
- Israel and design of Big Easy Series to click below links.
http://mymagicalattic.blogspot.com.tr/2015/10/moroso-big-easy-moroso-soft-big-easy.html
http://mymagicalattic.blogspot.com.tr/2013/09/ron-arad-at-ivorypress-madrid.html
THE BIG
EASY ARMCHAIR, 1991
DOUBLE
SOFT BIG EASY SOFA, 1991
SOFT
HEART ARMCHAIR, 1991
SOFT
BIG HEAVY ARMCHAIR, 1991
SIZE
TEN ARMCHAIR, 1991
A
collection that, from Big Easy, steel chair designed by Ron Arad in 1988, shows
that a volume, as simple form, can be translated, without compromising the
design principles, through a reinterpretation of materials and production
processes. The model obtained from a constructive gesture becomes industrial
production; the visual softness and fullness of the volumes, comfort. Big Easy
explores the rotational molding and the use of polyethylene; Soft version in
the cold-foaming and, with the polyester fiber cladding, the transformation of
the tactile surface; in the elements of the collection, the morphology and the
dynamic form.
Injected
flame-retardant foam over internal steel frame.
http://www.moroso.it/prodotti/soft-heart/?lang=en
THE BIG EASY ARMCHAIR, 1991
Photocredit © Allesandro Paderni
Design by © Javier Marshall
Photocredit © Tom Vack
Photocredit © Tom Vack
SOFT HEART ARMCHAIR, 1991
Photocredit © Tom Vack
SOFT BIG HEAVY ARMCHAIR, 1991
SIZE TEN ARMCHAIR, 1991
DOUBLE SOFT BIG EASY SOFA, 1991
Installation View Photocredit © Allesandro Paderni
Installation View Photocredit © Allesandro Paderni
THE BIG EASY ARMCHAIR, 1991
Installation View Photocredit © Allesandro Paderni
3 NUNS
BAR STOOL, 2013
The
mechanics of seating
Simple, unadorned strips of tempered steel fixed together
using wing bolts exploit the elasticity and malleability of metal to create a
resilient and flexible stool. The strips are positioned so as to gradually
discharge tension and become both the structure and the identifying feature of
the object. 3 Nuns, together with the Glider sofa and Z-shelf, is part of
Americana, a heterogeneous collection, which, through the use of steel,
celebrates conceptual pieces as an expression of the practice of design, while
rejecting established conventions and labelling.
Harmonic steel varnished transparent. Thermoplastic
gliders.
http://www.moroso.it/prodotti/3-nuns-stool/?lang=en
Photocredit © Tom Vack
3 NUNS BAR STOOL, 2013
Photocredit © Tom Vack
RIPPLE
CHAIR, 2005
The
frame of Ripple Chair is made of white polished and natural injection-moulded
thermoplastic to highlight the design in relief that is reminiscent of the
traces left by sea waves on sand. The circular aperture of the seat, the
lightness and softness of the lines, the sturdiness of the material used and
its stackability make Ripple Chair particularly suitable for both domestic and
public spaces.
Shell
in polypropyleneand base in matte blackor white varnished steel, with chrome
finish or stainless steel. Glide in polyethylene. The Ripple Chair can be
stacked up to 5.
http://www.moroso.it/prodotti/ripple_chair-sedie/?lang=en
RIPPLE CHAIR, 2005
Installation View Photocredit © Allesandro Paderni
Z - SHELF BOOKCASE, 2013
Everyday ready-made
A cut and folded sheet of metal,
bare, free from decoration. It distinguishes itself in composition, in the
freedom of combination. The result is an incomplete grille, broken up by cuts
which lighten the perception. It is the careful work of a metalworker, the
leftovers of mechanical processing, a snapshot of abandoned industry between
brutal aesthetics and poetry. Z-shelf, together with the 3 Nuns stool, and the
Glider sofa, is part of Americana, a heterogeneous collection, which, through
the use of steel, celebrates conceptual pieces as an expression of the practice
of design, while rejecting established conventions and labelling.
Sheet steel painted black mat
transparent. Features Non-homogeneous colors of black metal are normal and due
to theindustrial aspect of the material used.
http://www.moroso.it/prodotti/z-shelf/?lang=en
Z - SHELF BOOKCASE, 2013
Design by © Javier Marshall
VICTORIA
& ALBERT SOFA, 2000
LITTLE
ALBERT, SMALL ARMCHAIR, 2000
Infinity
revealed from a curved perspective,
A continuous flow of curving lines, an image-form drawn
without ever lifting the pencil off the paper. Originally a ‘doughnut’ which
provided inspiration for a sculpture: squashed, and reworked, using irony to go
beyond the usual approach to industrial design. Then the piece itself: the
padding and sewn-to-measure upholstery over an inner fibreglass frame reveal
the interaction between the technical and expressive merits of the design. Its
never-ending lines are sensitive but strong, perfect consonance between surface
and form, body and skin. The fabric reaches out into the space around it
magnifying and reinforcing the materiality of the piece yet without
interrupting or overpowering its fluidity.
Self-coloured polyethilene rotationally moulded.
Waterproof and light resistant. Little Albert and Victoria Table are suitable
for outside use.
LITTLE ALBERT, SMALL ARMCHAIR, 2000
VICTORIA & ALBERT SOFA, 2000
Installation View Photocredit © Allesandro Paderni
Photocredit © Tom Vack
VICTORIA & ALBERT SOFA, 2000
Installation View Photocredit © Allesandro Paderni
MOROSO SPA, ITALY
Moroso has been working in close collaboration with some of
the world’s most talented designers to produce luxury sofas and seating
since 1952.
Today
the company is headed by the second generation of the Moroso family- Roberto,
the CEO, and Patrizia, the Art Director,- and is an example of how a small
Italian artisan-owner company has evolved since it was run until the nineties
by Agostino Moroso. The company has always been open to new ideas, from its
origins in post-war Italy where there was a culture of ‘doing things and doing
them well’, Moroso has been farsighted, daring and certain of the advantage of
combining craftsmanship and tailoring with industrial processing techniques to
create unique products and by drawing on the worlds of industrial design,
contemporary art and fashion.
Along
with its product catalogue, the culmination of thirty years work in design and
expression, Moroso offers customers its design and production expertise to
create customized projects for the contract and luxury residential sectors. Our
ability to offer unique products is thanks to the combined talents of our 70
master artisans, our network of trusted suppliers, the use of high quality
materials and a true attention to detail.
VALUES
The story of Moroso is about adopting a different approach to
the market.
It is a story told by our designs and projects, by people, the protagonists of contemporary living, who tell of our genuine, spontaneous passion for beauty, emotion, design and art.
It is a story of the dedication which we have shown day in and day out for more than 60 years to our production and working methods, to our artisanal care for each product, and to our honest and direct relationship with our suppliers and customers.
An active, and responsive, approach which has helped secure a solid financial position, creating long-term economic value which is shared with, and benefits, everyone involved, from industry to the arts, and which we believe is key to building a better world. Growth, development and being receptive to new ideas are only possible when there is respect.
This is the beauty of design, the project as a way of embracing life, a vision of the world. A colourful world which celebrates difference and diversity, making them a physical part of daily life and form of communication and interaction.
It is a story told by our designs and projects, by people, the protagonists of contemporary living, who tell of our genuine, spontaneous passion for beauty, emotion, design and art.
It is a story of the dedication which we have shown day in and day out for more than 60 years to our production and working methods, to our artisanal care for each product, and to our honest and direct relationship with our suppliers and customers.
An active, and responsive, approach which has helped secure a solid financial position, creating long-term economic value which is shared with, and benefits, everyone involved, from industry to the arts, and which we believe is key to building a better world. Growth, development and being receptive to new ideas are only possible when there is respect.
This is the beauty of design, the project as a way of embracing life, a vision of the world. A colourful world which celebrates difference and diversity, making them a physical part of daily life and form of communication and interaction.
http://www.moroso.it/azienda/valori/?lang=en
MOROSO SPA, ITALY
DO-LO-REZ
SYSTEM 2008
The basic
module takes inspiration from the pixel, the base unit of an image, and is the
starting point for the design project. Soft rectangular cubes with a square
base in a range of heights give complete freedom in how they are put together,
turning modularity into structure. An infinite number of shapes and
compositions are possible, joining the world of industrial design with the
open, creative approach of the art world. The, seemingly simple, individual
elements are structurally complex and anything but simple to produce. Stiffer
at the base, so as to hold a steel pin, the blocks are softer at the top to
ensure maximum comfort.
Modular
items with low-res pixel effect for countless compositions. The pieces are
painted wood base.Feet in polypropylene. Seating modules in wood, upholstered
in flame-retardant injected foam. The covers of each individual Do-lo-rez
module are removable. For larger projects we may decline to measure.
http://www.moroso.it/prodotti/do-lo-rez-divani/?lang=en
Photocredit © Tom Vack
Installation View Photocredit © Allesandro Paderni
DO-LO-REZ SYSTEM 2008
Installation View Photocredit © Allesandro Paderni
WAVY
SMALL ARMCHAIR, 2007
Plastic
with no constraints of form
A chair has a given shape, a well-defined function. The
very fact that its design has been so thoroughly explored and reinterpreted
makes the discovery of new territories even more exciting. Wavy has a curved,
rippling form: its many, tiny waves which ripple over the whole of the chair’s
surface massage and hug the body, and ensure optimum comfort. Plastic has
been reinterpreted and appears to become a soft fabric draped over the metal
frame. Becoming a fabric which, moved by vibrant aerodynamic movement, change
into an organic shape, a complex multicell, primordial organism.
Plinth in stainless steel or in tubularsteel with black
lacquer finish. Single shell in ABS and in Petg in the transparent version. The
armchair can be stacked up to 4.
http://www.moroso.it/prodotti/wavy-poltroncine/?lang=en
WAVY SMALL ARMCHAIR, 2007
MISFITS
SYSTEM, 2007
Misfits
is a modular seating system with many modules, all different, whose shapes
appear to mould the material almost as if they were sculptures, a play on
volumes, solids and empty spaces, fluid and flexuous lines, sinuous curves that
hint at undulating movements and provide the maximum comfort.
Free-standing
and in foam, Misfits is structured in five large modules, three with a back and
two poufs, which can be combined in endless solutions that can also live on
their own.
A play
on elements with pliable volumes for a sculptural yet highly comfortable
seating range. The modules are in injected flame-retardant foam over internal
steel frame. Feet, screwed to the frame, in black polypropylene. The collection
is produced, due to the special nature of the shapes, inwool only. The Misfits
collection covers are not removable.
http://www.moroso.it/prodotti/misfits-attesa/?lang=en
You may visit Ron Arad's design Moroso Misfits full news to click below link from my blog.
Photocredit © Tom Vack
MISFITS SYSTEM, 2007
Installation View Photocredit © Allesandro Paderni
ONE
SKIN CHAIR, 2015
For
Moroso, Ron Arad has trod a strongly materials-oriented path, from polyethylene
upholstery to wood. His successful Victoria and Albert collection was followed
by the Little Albert and The Big E armchairs in polyethylene. The Three Skin
Chair was produced using wood for the first time. Powerfully sculptural and
extremely sinuous, Three Skin Chair is in multilayered lacquered wood.
3D bent
beech plywood and base in steel varnished.
http://www.moroso.it/prodotti/one-skin-chair/?lang=en
MATRIZIA
MATRIZIA
Photocredit © Tom Vack
NO
WASTE TABLE, 2004
Designing
the gap in his absence, excluding the surplus from design practice. No Waste is
designed so as to get all parts of a single metal sheet. In the drawing, each
part, each centimeter of surface area is a quantity needed. The table becomes
the product of a horizontal division of space and its subsequent orthogonal
assembly. Inspired by its car-manufacturing concepts more than to reuse or
recycle creative, No Waste is a new form capable of determining a change in the
taste of tradition, in the aesthetic pleasure, crossing the conventional
boundary and assume the “I like it – i don’t like it”.
Table
designed so all parts are obtained from a single sheet of ultralight aluminum
honeycomb or iron with protective waxwithout producing any waste.
http://www.moroso.it/prodotti/no_waste-tavoli/?lang=en
NO WASTE TABLE, 2004
THREE
SKIN CHAIR , 2004
For
Moroso, Ron Arad has trod a strongly materials-oriented path, from polyethylene
upholstery to wood. His successful Victoria and Albert collection was followed
by the Little Albert and The Big E armchairs in polyethylene. The Three Skin
Chair was produced using wood for the first time. Powerfully sculptural and
extremely sinuous, Three Skin Chair is in multilayered lacquered wood.
Bent
beech plywood varnished in redcopper or gray iron.
http://www.moroso.it/prodotti/three-skin/?lang=en
THREE SKIN CHAIR , 2004
Installation View Photocredit © Allesandro Paderni
GLIDER
SOFA, 2015
Combining
in an object fun and sensuality, function and stage presence, and
concentrating them in an abundant, full, bold form. Glider offsets
the structural approach with an instinctive and
anthropomorphic interpretation, as if it were the snapshot of an
exuberant exploration of volumes, the enigmatic charm,
ancestral in some respects, of roundness. A suggestion
strengthened by the physical and conceptual association with
movement: thanks to the rocking structure the sofa is transformed
into a swing, adding to the comfort and physical presence a new
experience, unexpected yet at the same time deeply intimate. The
outcome is absolute, verging on the archetype, as only work performed
in the territory opened up between art and industrial design, design and
sculpture, can sustain.
Flame-retardant
injected foam over internal steel frame. Glides in transparent PVC. On the
sofa cod.951 it is mounted a rocking mechanism. The collection is not
produced in leather. The Glider collection covers are not removable.
http://www.moroso.it/prodotti/glider/?lang=en
Photocredit © Tom Vack
GLIDER SOFA, 2015
Installation View Photocredit © Allesandro Paderni
RON ARAD
Born in Tel Aviv in 1951, educated at the Jerusalem
Academy of Art and later at the Architectural Association in London, Ron Arad
co-founded with Caroline Thorman the design and production studio One Off in
1981 and later, in 1989, Ron Arad Associates architecture and design practice.
In 2008 Ron Arad Architects was established alongside Ron Arad Associates.
From 1994 to 1999 he established the Ron Arad Studio,
design and production unit in Como, Italy. He was Professor of Design Product
at the Royal College of Art in London up until 2009. Ron Arad was awarded the
2011 London Design Week Medal for design excellence and was became a Royal
Academician of the Royal Academy of Arts in 2013.
Ron Arad’s constant experimentation with the
possibilities of materials such as steel, aluminium or polyamide and his
radical re-conception of the form and structure of furniture has put him at the
forefront of contemporary design and architecture.
Alongside his limited edition studio work, Arad
designs for many leading international companies including Kartell, Vitra,
Moroso, Fiam, Driade, Alessi, Cappellini, Cassina, WMF and Magis among many
others.
Ron Arad has designed a number of Public Art pieces,
most recently the Vortext in Seoul, Korea, and the Kesher Sculpture at Tel Aviv
University.
EXHIBITIONS:
Ron Arad's work is represented in
the permanent collections of many museum around the world, including The
Metropolitan Museum of Art, New York; Centre Georges Pompidou, Paris; The
Victoria & Albert Museum, London; Vitra Design Museum, Weil am Rhein.
2013 – In Reverse at Pinacoteca Giovanni e Marella Agnelli
2013 – In Reverse at Design Museum Holon Israel
2013 – Ivorypress Madrid
2009 – No discipline at Museum of Modern Art New York
2008 – No Disciplines at Centre Georges Pompidou Paris
2000 "Not Made by
Hand, Not Made in China", Galleria Giò Marconi, Milan
2000 "Before and
After Now", Victoria & Albert Museum, London
1996-98 "Ron Arad
and Ingo Maurer", Spazio Krizia, Milan
1990-95 "Ron Arad
- Sticks & Stones", Vitra Design Museum, Weil am Rhein
1987 Documenta 8,
Kassel
1984 Zeus Gallery,
Milan
