PATRICIA
URQUIOLA DESIGNS FOR MOROSO PART 1:
ANTIBODI
ARMCHAIR, ANTIBODI CHAISE LOUNGE,
SMOCK ARMCHAIR, FJORD SERIES AND RIFT SOFA
MOROSO ANTIBODI BY
PATRICIA URQUIOLA, 2006
The Aesthetic Order of
Blossom
A new shape for a
non-padded chair, three-dimensional geometry derived from the cellular genesis
of sewn petals using the layout of a graphic structure with a triangular base.
The result is a floral explosion, a marvellous symbolic display of fertility. Antibodi
is a life force, the epitome of wonderful yet contradictory charm. The petals,
in double sided fabric- felt and baize or baize and leather- create a
structural upholstery, which is fixed to the stainless steel frame. The
upholstery has a dual personality, welcoming and feminine when the petals face
upwards, intentionally severe and matelassé when the petals face down.
Self-supporting two-color
cover bonded to polyurethane foam and technical mesh. Steel structure and PVC
glides. Cover available in two versions.
MOROSO SMOCK
ARMCHAIR BY PATRICIA URQUIOLA, 2005
Smocking Stitch Design
Take a classic looking
embroidery stitch and decontextualize it. Blend craftsmanship and industrial
processing and broaden the imagination to create a stylish, sophisticated piece
which feeds into the symbolic feminine universe. Expand it. Two rings become
armrests similar to the simple style of a bamboo bag; the shell, which has
something of the feel of a baseball mitt, is an open tanktop ready to be
slipped into, a comfy welcoming nest. The side embroidery –in smocking stitch –
render the draping contemporary, and give a lightness to the form, giving the
chair the grace and sophistication of a classic fashion accessory.
Injected flame-retardant
polyurethane foam over internal steel frame. Arms are leather-wrapped tubular
steel in the same color of the chair or on request. Swivel base and column are
steel powder coat finish. Smock collection covers are not removable.
MOROSO ANTIBODI CHAISE
LONGUE BY PATRICIA URQUIOLA, 2006
Seeking a new shape for a
non-upholstered seating element, a lounge chair or a chaise longue: the design
of Antibodi for Moroso blossoms from a cellular genesis of petals sewn in
triangular shapes, generating ample patterns. The lightly padded petals feature
reversible materials – felt or leather, combined with a wool fabric – which
create a supporting cover, fixed to a stainless-steel metal frame. The covering
creates two striking and different moods: a more unconventional, feminine one
when the petals face upwards, or a deliberately severe, quilted look when they
face downwards. The two sides are available in black and in white, or in a
natural tone matched with a kaleidoscopic patchwork.
MOROSO FJORD ARMCHAIR BY
PATRICIA URQUIOLA, 2002
Perfection in a Broken
Shell
From a piece of seashell,
which has been broken and smoothed by the waves, Patricia Urquiola has designed
a collection of seats for both the home and public spaces. As the name
suggests, there is a strong Scandinavian influence with references to Arne
Jacobsen and the inlets of northern coastlines represented in the long
cut-away. Like a natural cycle where the shell is reborn through the effects of
time and water, the chair becomes armchair and then stool. Its broken form and
abstract concept together become an object of design: smooth lines that support
and envelop are picked out in decorative stitching in harmony with the essence
of the chair’s structure.
Swivel armchair in
injected flame-retardant foam over internal steel frame. Square base in powder
coated steel. Available with fixed (code 03K) or designed (code 03G) for the
addition of cotton gel quilt (code 340).
MOROSO FJORD TABLE BY
PATRICIA URQUIOLA, 2002
The Fjord tables features
the same organic, inspirational shape of the original Fjord collection of
chairs for Moroso: a simple piece of seashell, broken and smoothed by the
waves. The strong Scandinavian influence of the line is its manifest, with
references to Arne Jacobsen, to the inlets of northern coastlines represented
in the long cut-away. Like a natural cycle, where the shell is reshaped into
life through the effects of time and water. Its broken form and abstract
concept merge into an object of design: supporting and enveloping smooth lines
are picked out in decorative stitching, in perfect harmony with the essence of
the tables’ structure. The Fjord tables feature a square base, in grey
varnished steel or in black with a top in white melamine-faced MDF.
MOROSO FJORD BAR STOOL BY
PATRICIA URQUIOLA, 2002
Perfection in a Broken
Shell
From a piece of seashell,
which has been broken and smoothed by the waves, Patricia Urquiola has designed
a collection of seats for both the home and public spaces. As the name
suggests, there is a strong Scandinavian influence with references to Arne
Jacobsen and the inlets of northern coastlines represented in the long
cut-away. Like a natural cycle where the shell is reborn through the effects of
time and water, the chair becomes armchair and then stool. Its broken form and
abstract concept together become an object of design: smooth lines that support
and envelop are picked out in decorative stitching in harmony with the essence
of the chair’s structure.
Seat is injected
flame-retardant foam over internal steel frame covered in fabric or leather.
Tubular stainless steel sled base with footrest.
https://moroso.it/prodotti/fjord-4/?lang=en
MOROSO RIFT SOFA BY
PATRICIA URQUIOLA, 2009
Private Areas in a Shared
Space
Rift, to borrow the
geological term for crack or fissure, is a seating system which cuts across the
contemporary domestic living space. Unlike modular systems which are based on
the rational use of geometry, Rift is built around an unexpected and asymmetric
positioning of different volumes, an intentional randomness inspired by the
unpredictability of nature. Multiple layers form relaxed seating, designed for
the individual yet perfect for the public places: like tectonic plates, the
different layers tend to collide and overlap giving a highly original
impression of movement, transforming even the most formal space into something
fluid yet without ever altering its character.
Elements in stress-resistant
flame-retardant polyurethane foam in varied densities and polyester fiber on
wood frame. Feet in black polypropylene screwed to the frame. The Rift
collection covers are not removable.
MOROSO FJORD CHAIR BY
PATRICIA URQUIOLA, 2002
The original inspiration
behind the Fjord chairs for Moroso is a simple piece of seashell, broken and
smoothed by the waves. A collection of seats for the home or for public spaces,
the strong Scandinavian influence of the collection is manifest, with
references to Arne Jacobsen, and to the inlets of northern coastlines
represented in the long cut-away. Like a natural cycle, where the shell is
reshaped into life through the effects of time and water, the chair becomes
armchair and then stool. Its broken form and abstract concept merge into an
object of design: supporting and enveloping smooth lines are picked out in
decorative stitching, in perfect harmony with the essence of the chair’s
structure.
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STUDIO
URQUIOLA
Studio Urquiola was
founded in 2001 by Patricia Urquiola and her partner, Alberto Zontone, and it
operates in the fields of Industrial Product Design, Architecture (hotels,
retail spaces, residences, exhibitions and installations), Art Direction and
Strategy consulting.
PATRICIA
URQUIOLA, 1961
Originally from Oviedo,
Spain, Patricia Urquiola studied architecture and design at the Universidad
Politécnica de Madrid and completed her studies at the Politecnico di Milano
where she graduated under the mentorship of Achille Castiglioni. Her career highlights
include: Assistant lecturer to Achille Castiglioni and Eugenio Bettinelli in
Milan and Paris, responsible for the new product development office of De
Padova, working with Vico Magistretti. In 1996 she became head of the Lissoni
Associati design group.
WORK AND CLIENTS
Patricia Urquiola starts
each project by building an empathic connection with the user that will
eventually interact with her designs, something she learned from Achille
Castiglioni, establishing the “fundamental element” as he used to call, the
basis of each project which always keeps her on track and accompanies her whole
design process: thinking spaces or objects in relation to people. Pushing the
limits of research and technology, Patricia Urquiola constantly experiments and
dares to move towards better design and architecture, following her earlier
mentors’ teachings such as Vico Magistretti and Maddalena de Padova. Used to
confront complex processes, working with scales from micro to macro, she works
with the available technology to go beyond the limits of what has been already
experimented.
Studio Urquiola is
frequently asked to design not only objects and architectures but also to think
about the future of mobility, workplace and production cycles. Creating links
between craftsmanship and industrial research, the heritage together with
innovation and technology, Patricia Urquiola also drives companies she works
with to upcycle once-waste material and tries to re-image entire processes
leading them to change, evolution and innovation.
Patricia Urquiola
believes in an original design point of view merging humanistic, technological
and social approaches. Her design thinking is the intersection of challenges
and breaking prejudices, finding unexpected connections between the familiar
and the unexplored.
Patricia Urquiola has
been the Creative Director of Cassina since 2015 and works with important
Italian and international design companies, including Agape, Alessi,
Axor-Hansgrohe, B&B Italia, Baccarat, Boffi, Budri, De Padova, Driade,
Coedition, Ferragamo, Flos, Gan, Georg Jensen, Glas Italia, Haworth, Kartell,
Kettal, Kvadrat, Listone Giordano, Louis Vuitton, Molteni, Moroso, Mutina,
Rosenthal and Verywood…
Amongst her latest projects in architecture are Il Sereno Hotel in Como, the Room Mate Giulia Hotel in Milan, the SD96 yacht for Sanlorenzo, Marienturm and Marienforum towers in Frankfurt, the spa of the Four Seasons Hotel Milan, The Jewellery Museum in Vicenza, the Mandarin Oriental Hotel in Barcelona, Das Stue Hotel in Berlin; showrooms and installations for Gianvito Rossi, BMW, Cassina, Missoni, Moroso, Molteni, Officine Panerai, H&M, Santoni and the general concept of Pitti Immagine in Florence…
Patricia Urquiola is part of the advisory board of the Politecnico of Milan and the Triennale Milano Museum. She taught the Master’s Degree in Interior Design at the Domus Academy in Milan (2013-2015) and has given lectures at Harvard University, Michigan University, Shenkar School of Engineering and Design in Israel, at the Alvar Aalto Academy in Finland, at the State University and Bocconi University in Milan. She has also given talks at countless cultural events, such as Design Shanghai, Design Week in Istanbul, the Expressive Design conference at the Vitra Design Museum, Weil am Rhein, Germany, the Bloomberg Design Conference in San Francisco, Festarch Perugia, the Mind Festival in Sarzana and the Mantova Literature Festival, among other events in Italy. She was an ambassador of the Milan Expo in 2015.
EXHIBITIONS
Patricia Urquiola’s work
is exhibited in many art and design museums across the world, including the
MoMA in New York, the Decorative Arts Museum in Paris, the Design Museum in
Monaco, the Vitra Design Museum in Weil am Rhein, the Victoria & Albert
Museum in London, the Design Museum in Zurich, the Stedelijk Museum of modern
and contemporary art in Amsterdam and the Philadelphia Art Museum.
At Madrid Design
Festival, earlier 2020, an exhibition entitled “Patricia Urquiola. Nature Morte
Vivante” opened to public, focusing on the work at different stages of her
career. The exhibition was laid out in a non-chronological way around five
pillars exploring recurrent themes of Patricia Urquiola’s work and mindset.
“Exploring the mind of
Patricia Urquiola offers many surprises, among them, discovering the unexpected
themes that feed her voracious curiosity: virtual reality, economy, politics,
artificial intelligence, the theory of color, the Anthropocene, robotics,
ecology and sustainability, gender issues, man and machines, and so on. They
are the foundation of an entire way of thinking that is imperative to the
responsibility and coherence of a person that carefully introduces each new
object of her creation into this agonizing and ill-treated planet. Patricia
Urquiola´s career reveals a “rhizomatic” attitude towards projects, a type of
mindset that is also her work method. Thus, all the elements involved have the
same importance and influence each other horizontally, without imposing
hierarchies.” explains Ana Dominguez Siemens, the curator of the
exhibition.
PRIZES AND AWARDS
She has won several
international prizes and awards including the Medalla de Oro al Mérito en las
Bellas Artes (Gold Medal in Fine Arts) awarded by the Spanish Government; Order
of Isabella the Catholic, awarded by His Majesty The King of Spain Juan Carlos
I; “Designer of the decade” for two German magazines, Home and Häuser,
“Designer of the Year” for Wallpaper, Ad Spain, Elle Decor International and
Architektur und Wohnen Magazine. She was the Ambassador of the Milan Expo in
2015. She was nominated Art Director of Cassina in September 2015.
STUDIO URQUIOLA
has now a team of around
70, composed of 43 architects and interior designers; 15 product designers,
textile designers and model makers; 12 at financial, administration, PR &
press department. 18 nationalities are represented and 15 foreign languages are
spoken, a very international community with designers and architects
collaborating in the most interrelated possible way.
https://patriciaurquiola.com/studio
You may click below links
to reach Patricia Urquiola’s designs of B & B Italia Bend Sofa,
B & B Italia Tufty
Time, and Design Lana Mangas from My Magical Attic past news.
https://mymagicalattic.blogspot.com/2013/10/b-b-italia-bend-sofa-design-by-patricia.html
https://mymagicalattic.blogspot.com/2013/11/b-b-italia-tufty-time-design-by.html
https://mymagicalattic.blogspot.com/2013/04/patricia-urquiola-s-design-lana-mangas.html
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