What specific techniques do you use to work with materials like plain tinted and oiled ash tree boards in the Plot composable storage system?
We have a workshop with quite a lot of machines where we can work on many techniques and materials. Over the years, we have accumulated many tools. However, we have a special interest in wood and metal work.
For Plot, we wanted to create a contrast between the boards that are dark and matte, and the stand-off pieces that are coloured and very glossy. The project was designed to be composable, to make shelves of small to large dimensions.
We turned the stand-off pieces on the lathe, using cracked wood to add more texture and contrast to this piece of furniture. Then we lacquered them. They have some metallic screw inserts to fix them to the boards very easily.
The boards are naturally tinted with a 'grandmother's recipe' of vinegar and iron filings. This allows for a deep black/blue hue while keeping the wood's veins visible.
How do you achieve the contrasting finishes in the Argent de Poche box, particularly the naturally blue-stained chestnut wood and the turned copper top with a silver finish?
We processed it in a similar way to Plot. The blue stain is just less intense, ensuring the blue remains distinctly blue. We crafted the lid using metal spinning techniques, adding a slight twist to achieve an asymmetrical shape. The copper is then immersed in a silver bath. We designed the lid to fit comfortably in the palm of the hand, both in size and handling.
How do you address the technical challenges of producing custom-made furniture pieces on demand?
Initially, for the By Hands collection, we designed relatively small objects to produce them in limited quantities, but several at a time. This was the only way to optimise our working time. We chose to work with a variety of materials, such as paper, leather, metal, wood, and concrete. Since each material requires specialised processes, we had to be very organised in the workshop.
Recently, we have moved on to creating larger pieces that can be made on demand. As we enjoy designing sophisticated objects composed of several materials, this naturally requires a significant amount of production time. Custom-made items offer a good solution to the challenging balance between craft and cost.
However, we tend to use the workshop more as a laboratory for experimentation and prototyping than for actual production. To preserve time for creation and design, we need to collaborate with other craftsmen and women, spending less time on manufacturing ourselves.
What were the technical and material considerations in the design of the Wild Chairs project, and how did you approach the study of chair typology?
We wanted each chair to express the specific feature of one material. For instance, Shaun is about a rug, so we designed it as a sheet of material (the rug) that transforms into 3D, creating a seat, a backrest, and legs. Its structure is made of aluminium sheets to maintain this concept and highlight the rug’s characteristics.
For each of the 10 chairs, we started with a particular skill, a method of shaping the material, a concept of arrangement, or a reinterpretation of a classic chair component.
We also aimed to propose original shapes to demonstrate that, despite the current trend of producing very standard chairs, it is still possible to design unusual outlines while maintaining functionality.
Can you provide examples of how you have twisted traditional know-hows to explore new possibilities in design and material use?
We have always aimed to incorporate this approach into our designs, but the Wild Chairs are specifically crafted with this intention. We mentioned Shaun, the rug chair, as an example, but Luca and Farrah also illustrate this concept.
Both are made from moulded plywood, a classic material in chair manufacturing. For Luca, we wanted to create a chair from a shell, but plastic was not an option. We explored how to achieve a shell using noble materials and decided to mould the same piece several times (a “U”) and, by repeating and assembling them, shape a monolithic seat.
For Farrah, we focused on plywood's ability to form curves while remaining very thin and strong. We refined the work and dimensions to create a chair from a single curved sheet. To reinforce the seat, we added a small internal curl. This technique is reminiscent of the bentwood process used in chairs by Thonet.
How do you achieve the seamless integration of plain and veneer woods with lacquered steel structures in the Stage cabinets, and what techniques do you use to ensure stability and aesthetic cohesion?
The Stage cabinets are wood boxes put on a steel structure, the legs. We just designed the background of the boxes by bringing soft curves to create a kind of scenography for the objects that are placed inside. We use the same wood for this part and the outsides. To unify them, we apply a tint (black, white, natural).
What new materials or techniques are you currently exploring to further enhance the sustainability and functionality of your designs?
In the new designs, whether for design companies or hand-made pieces, we continue to use noble and traditional materials like wood, metal, and rattan, aiming to evoke emotions through the way we arrange them or use them to create volume. It is definitely part of our process to use standard materials, basic boards, pipes, and to explore how they can tell a story or create a graphic effect.
In what ways do you hope to push the boundaries of sustainable design in the coming years, and what innovations are you planning to integrate into your practice?
We don’t use plastic or resin, even though they would allow us to create refined shapes similar to those we like to design. As mentioned earlier, we focus on reinventing the shaping of standard materials and avoiding these alternatives. They are toxic for those who handle them, harmful to the environment, and not sustainable.
We collaborate with design companies that are very sensitive to these issues and work with local manufacturers. When production abroad is unavoidable, we ensure that they partner with factories that care about their employees and the environment.
We prefer lasting materials and designs that you will keep in your home for a long time, potentially pass on to your family, or resell. This is how we view sustainability in design.
