107 chair, was created specially for the Corso restaurant interiors that Stadler designed in Paris. Now available as part of German furniture makerThonet’s own collection, the 107 Chair incorporates a separate flat backrest to simplify the production process. y replacing the curves of Thonet’s famous 214 Chair with straight lines, Stadler enabled it to be manufactured in a cost-efficient way. The frame is made of solid wood, while the seat and backrest are made of plywood with a natural or stained finish.
The somewhat weird idea behind “Lightspot” is to materialize the immaterial. The colored aluminum plates correspond to an actual lightspot projected onto the wall by a miniature LED lamp. The various layers shade off in the same way the light does. They are coated with a particularly reflecting paint, giving the illusion that the plates themselves are light emitting. “Lightspot” can be placed in different directions according to the user wish. By moving the object he will experience a strange feeling of being able to hold light in his hands.
The “Possible Furniture” series plays with the perception of balance / unbalance and thereby questions the designer’s role of producing the perfect object. Each different piece of furniture looks like an unlikely random pile, but on the contrary is precisely designed following standard design rules such as ergonomics, stability and use.
The “Rest in Peace” series started in 2OO4 when I perforated the typical plastic chair (probably the most invasive piece of furniture around). The act came out of an utopic desire to accelerate the chair’s vanishing. The shapes of the holes are replicas of a macroscopical view of osteoporosis, so the object appears as a skeleton, a fossil found in the future.
Visitors enter the church through a lateral door and first see a scattered group of luminous spheres hovering in the choir. As one approaches the center of the nave, the spheres form a giant question mark. They become a punctuation mark superimposed over the religious symbols. Then as one moves through the church, the question mark decomposes. The figure becomes abstracted again in order to echo the hanging lights of the cathedral
ABOUT ROBERT STADLER
Robert Stadler was born in 1966 in Vienna. He studied design at IED/Milan and at ENSCI/Paris.
In 1992 he cofounded the RADI DESIGNERS group which was active until 2OO8. He is represented by Carpenters Workshop gallery and Galerie Triple V. His work is present in several private and public collections such as Fondation Cartier, Fonds National d’Art Contemporain, MAK – Museum for Applied Arts / Contemporary Art in Vienna, Les Arts Décoratifs in Paris.
© Copyright 1991-2O13 Robert Stadler, all rights reserved