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RON ARAD’S NONCONFORMIST DESIGN

Ron Arad‘raw’materials

作者：design diffusion 来源：design diffusion

2018-10-18 14:20:35 3473 0 0

NO.:188

Since the 1980s, Ron Arad has been experimenting with ‘raw’ materials, yet his pieces are mass-produced as shown by the exhibition at the Vitra Museum

Just two weeks left to visit the exhibition ‘Ron Arad: Yes to the Uncommon!’ (until 14 October 2018) at the Vitra Museum in Weil am Rhein. The monographic exhibition provides us with the occasion for an in-depth focus on the unconventional Anglo-Israeli designer whose projects, despite his nonconformism, have been serially manufactured for decades.

From the first object built in 1981 by attaching pipe couplings to a Rover 90 car seat he had found at a scrapyard, Ron Arad has gone a long way in the design world. The monographic exhibition at the Vitra Schaudepot ranges from the first projects, which are full of that ‘raw’ energy obtained by working with materials such as concrete and steel, which highlighted his talent, to the latest, where his experimental approach is applied to serially manufactured products.

Metal Compactor Sticks and Stones, 1987 [© Archiv Vitra Design Museum, photo: Roland Engerisser]

The exhibition includes the Concrete Stereo (1983), the Horns Table (1985), the Tinker Chair (1988), formed out of welded steel sheet and hammered into the desired shape, and iconic pieces such as Big Easy (1988) and Little Heavy (1989), some of which were later reinterpreted in different materials for Moroso. Additional objects on display include the Well Tempered Chair (1986), completely constructed from bent steel sheet, and the Bookworm bookshelf (1993), probably Arad’s most famous design, commercially released in a PVC version by Kartell.

In Weil am Rhein is also the spectacular Sticks and Stones machine (1987). By “eating” chairs and metal objects and then disgorging them in the form of pressed cubes, the contraption performs an act of deconstruction through which Ron Arad casts a critical light on our consumerist culture while also questioning the role of the designer.

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