Today, almost no interior is complete without "star" design objects. How does it happen that items acquire cult status? What prerequisites contribute to this and what qualities should a "legend of design" possess? We are looking for answers together with our Ukrainian designers and column partner, the well-known metropolitan design space Project 900.

When the modernists changed the paradigm of the formation of man-made space, the objects filling it also began to change. Design began to develop rapidly, and factories for the first time started mass production, inviting architects to create it. When we say the names of Mies van der Rohe, Ray and Charles Imsow, Vico Magistretta, Achille Castigliona or the guru of Scandinavian design Alvar Aalto, not only their conceptual architecture but also the furniture they created pop up in our minds. It is unlikely that the Imzov couple, when developing their famous chair, which bears their name, pursued the goal of becoming famous or creating an imperishable masterpiece - the task was purely practical: to make a comfortable chair for the office. And only later it triumphantly migrated to all other premises.

Similarly, Thonet, who gave the world the Viennese chair, and Roe, and Saarinen and Jacobson hardly counted on the popularity of their objects, which became attributes of many interiors. Such objects continue to live their lives even after the death of the author, they are republished, their anniversaries are celebrated, and along with them, icons of the new time appear. For example, a horse floor lamp from the Swedish bureau Front, a Zettel'z chandelier by Ingo Maurer or masterpieces by Tom Dixon. You may not know or remember the author's name, but the image, the shape of the object will surely pop into your mind - you will recognize such iconic things without fail.

The concept of comfort in a modern home. Project 900

Many factories that dared to produce the avant-garde works of famous design masters in their time continue to reissue their legacy, and at the same time cooperate with many "star" designers of our time, which helps them stay on top already in the new era.

Designer objects are the key to creating a certain lifestyle - this concept is reflected in the interiors of the Project 900 salon in the capital's "Domosfera" shopping center. An iconic item from a cult brand becomes the core around which the scenography is built. This is exactly the kind of experience salon designers offer to clients. You can come to Project 900 as if you were in a design laboratory, where you will be introduced to the unique creations of modernists and will be offered options for complex solutions for filling new and already inhabited spaces.

An item that caught your attention may even be borrowed for a "test drive" in a specific interior or the right location — to check how the light falls, whether the rhythms match, whether synergy occurs. Context is important. A set of brands with which Project 900 works is presented in an exposition on an area of ​​900 square meters. m. We will tell you about the selected cult models of this meeting in more detail.

 

Rolf Benz. Ergonomics of the new life

To create his first series of Addiform sofas in the 60s, furniture upholsterer from Nagold, Rolf Benz, was motivated by the desire to change the usual idea of ​​how one should sit or lie down in the house, in a word - rest. He considered upholstered furniture not as separate units, but as a single environment for recreation, subordinated to the simple principle of enjoying the use of furniture. Therefore, all items here are designed with ergonomics in mind. The consequence of such an approach was the appearance of modular systems that can be easily transformed for various scenarios and the individual needs of their owners.

It is quite right that the brand is considered the best German manufacturer of literally the most comfortable upholstered furniture. The physical proof of this is the current iconic models of the brand, such as the Rolf Benz 594 armchair with a footrest designed by Sebastian Herkner, the cup-shaped "furniture sculpture" - the Rolf Benz 640 chair by Tys Wieber, which has become an integral attribute of many restaurants around the world, as well as the top ergonomics - the NOVA sofa-transformer, designed by Joachim Nies.

"The SONO bed is a frequent guest in our projects thanks to its elegant headboard with a diamond-shaped screed"

"I can easily recognize Rolf Benz sofas and armchairs by their streamlined elegant forms, soft color palette and feeling of a "floating" object," says Olga Kornienko, chief architect-designer of 33BY Architecture. — For example, the ALMA sofa has such thin, elegant legs that it seems weightless, and it is even surprising how it supports the weight of the people sitting. I will note that the design of the back is so well thought out that you feel as relaxed as possible, but I am completely delighted with the armrests-pillows: you immediately feel the desire to lie down.

For the composition, I would add to it a coffee table with a round or square wooden tabletop from the Rolf Benz 925 series. The SONO bed is also a frequent guest in our projects thanks to its elegant headboard with a diamond-shaped tie. Most of all, I like the leather version, although you can also choose fabric upholstery. Due to the combination of traditional and modern details, it is suitable for almost any style of interior."

 

Verpan. Revolution of form

The name of the Verpan company is encrypted with the name of the Danish architect and designer Werner Panton: the brand has exclusive rights to the production of most of his works. Cult objects of the master produced a real revolution in design. The famous Panton tongue chair made of a single piece of molded plastic, which Vitra produces today, or the Cone chair, which looks like a paper bag-cone, Tivoli and Bachelor chairs - all of them are distinguished by their unique shape and skillful work with color. Panton sincerely believed that sitting on a chair should be fun and interesting, like in a game, and at the same time comfortable.

"When we create the interior of a bar or a kitchen, we often choose Verpan Series 430 chairs," shares Olga Kornienko. — For me, this is an example of simplicity. A fully upholstered seat and a wide, comfortable back are attached to the thin, elegant frame. The structure adapts to the weight of the body, providing the chair with the comfort of an armchair."

"Many consider the collection of these lamps to be the master's greatest masterpiece still relevant today"

Not only form and color were the objects of Panton's creative experiments. His work with light gave impetus to a new look at space. At the suggestion of the designer, they began to hide light sources from prying eyes, learned to regulate the strength and direction of the light stream, and later talked about lighting scenarios. In the master's interpretation, light ceased to be a utilitarian tool, gaining its own full-fledged role in interior design, "changing" the scenography every time.

"When we were working on creating the space of one of our first SPAs in Lypki," recalls ALFA Medical & Spa Development chief architect-designer Anna Desyatnychuk-Papushenko, "the customer wanted to decorate the interior with a Verpan chandelier from the current collection. We built the design of the hall around this object - the room began to look unusual and especially elegant. Fifteen years have passed, and the lamp still catches the eyes of visitors."

We are talking about the famous Spiral chandelier - an example of Panton's ingenious experiment not only with color and shape, but also with reflection: golden or silver spirals cast from thermoplastic, forming the suspension of the chandelier, reflect the rays of light and throw off glare. In the same row as Spiral is another iconic item by Panton — the Fun chandelier, which appeared in 1964. Its main design element is mother-of-pearl discs that descend in garlands from a chrome-plated metal frame. Many consider the collection of these lamps to be the master's greatest masterpiece, still relevant.

 

Wittmann. Viennese modern in the interpretation of modern design stars

The designer classics of the legendary founder of the Vienna Secession and "Vienna Workshops" Josef Hoffmann are produced by the authoritative Austrian brand Wittmann. For example, the Kubus and Club chairs, designed by him in 1910, the Fledermaus chair and other items of his, which form the core of the factory's collection.

Here's how Olga Kornienko describes her perception of the brand's style: "I love Wittmann models for their strictness, conciseness of form and color. The designer interprets simple geometry — orthogonality, as a distinguishing feature of his objects, does not at all contradict orthopedics." Hoffman was convinced that the key to comfort and good posture is properly designed furniture. Actually, he got into furniture design for the sake of a friend who could not move on his own as a result of a spinal injury, and for whom Hoffman developed a "sitting machine", a special Sitzmaschine chair, which is still manufactured by the factory.

Wittmann cooperates with many famous designers, among them Marco Piva, Jean Nouvel, Sebastian Herkner. All of them find their own ways to pay tribute to Hoffmann's legacy and bring novelty to the factory's eclectic collections. Some time ago, the brand renewed its image, invited the bright and violent Spaniard Jaime Aion. Toth caught the character of the forms in Hoffmann's objects, interpreted them in fresh models, boldly expanded the palette.

"I saw his work for Wittmann at the 2018 Milan Furniture Fair," says designer Nika Vorotyntseva. — I especially remembered the Wings bed with its unexpected solution with "ears" on the sides of the velvety headboard, which "fold up" during sleep, as if protecting the sleeping person. And also a table-stool Grain Cut in the spirit of Viennese modern. It is made of a single massif of wood, and looks more like a sculpture than a piece of furniture."

In March of this year, the Italian Luca Niketto became the art director of Wittmann. It all started with the creation of a modular sofa for the Andes brand and over time grew into a permanent collaboration. At the new post, the designer has already released the Paradise Bird series of upholstered furniture.

"I especially remembered the Wings bed with its unexpected solution with "ears" on the sides of the velvety headboard, which "fold up" during sleep, as if protecting the sleeping person"

"For the interior of the new SPA, the project of which we are currently working on, I chose the Paradise Bird Highback Chair from the new collection from Wittmann," shares Anna Desyatnychuk-Papushenko, chief architect-designer of the ALFA Medical & Spa Development studio, which specializes in the development of interior spa concepts - Kompleksov — In these objects, an allusion to golden cages for birds of paradise can be read.

The armchairs were perfectly suited in design for the interior of the SPA designed by us and helped to create an atmosphere of relaxation in it thanks to large round seats and pillows for the back. For models with high backs, the factory even provided neat headrests made of the same material as the seat upholstery, so as not to disturb the unity of the composition. Plus, they are light due to the rounded, as if hugging backs made of brass rods.

 

ClassiCon. Old and new masterpieces

A small company from Munich is primarily known for the fact that it owns a license for the production of classic design furniture from the 1920s. Eileen Gray, as well as Otto Blumel, Bruno Paul, Eckhart Mathesius. Among the iconic objects of the authorship of the famous Irish woman, which are being reissued by ClassiCon, are the Bibendum armchair, the Adjustable ergonomic table and the Brick Screen. In addition, the brand cooperates with modern star designers: Konstantin Hrczyk, Jaime Aion, Sebastian Herkner, Herbert Schultes, Alfredo Haberly, Lloyd Pearson. Such collaborations enrich the assortment of the brand with current objects, many of which are already considered among the design legends of our time.

"In the new Sol Side Table collection from ClassiCon, its authors - the Spanish duo OrtegaGuijarro - created an impressive design, combining colorful and transparent elements made of parsol glass into a single object. In fact, these are colored glass plates with rounded corners, from which the table is made. Depending on the viewing angle, the game of light changes the silhouette of the object. This is both an elegant sculpture and a functional item - such an item, in my opinion, can rightly be called a design legend. And the performance in my favorite ultramarine will enrich the space with a bright accent," shares Anna Desyatnychuk-Papushenko.

For the founder of the MDesign studio, Ekaterina Mardanova, the Bell table from ClassiCon, designed by Sebastian Herkner, became a landmark item. "I have a special love for this subject. It has a unique base made of blown glass, referring to the shape of a bell. The factory offers it in different colors and it is easy to choose the necessary shade for a specific project.

"We call this coffee table "transit" because it can be quickly moved or moved to the right place"

We call this coffee table "transit" because it can be quickly moved or moved to the right place: to a sofa, chair, wall, window. For me, its main value is its versatility — it is ideally suited to any room style. I advise you not to limit yourself to one copy of Bell: it is produced in several sizes, and the combination of a high and a low table looks like one whole. I can confidently call him a legend, although he appeared relatively recently."

Walter Knoll. A symbol of modern design

When Wilhelm Knoll opened his leather shop a century and a half ago in Stuttgart, he had no idea that a small business would turn into a furniture empire that would be managed by a whole dynasty bearing his name. Inheriting his father's business in 1907, his sons Willy and Walter modernized production, and since then the ability to stay ahead of the times has become the key to the company's success.

The first Antimott model created by the brothers produced a real revolution: light, comfortable chairs instead of expensive fillers received patented spiral springs for the first time. They - the chairs - instantly became part of the equipment of the then advanced technological marvel - airships. Later, Walter Knoll, fascinated by the ideas of Mies van der Rohe, Gropius, Le Corbusier, founded his own company. The way modern armchairs and chairs in upholstery look today, the world owes precisely to the Walter Knoll brand.

Armchairs with bowl seats, soft chairs with elliptical seats, round cocktail chairs - all these are inventions of the factory. Saddle leather of a unique finish, with which few of the furniture makers dare to deal, is the key material of the brand's products. A distinctive feature is an impeccable stitch and a characteristic silhouette, as if written out with one line, one stroke. It illustrates both the legendary FK office chair, designed by Preben Fabricius and Jørgen Kastholm back in 1967, and the famous 369 model, which appeared in 1956 and is still considered the brand's emblem, and the Fabricius chair.

A distinctive feature of the brand is a characteristic silhouette, as if written by one line, one stroke

Walter Knoll items that have become classics were created in collaboration with iconic designers of their time. Today's icons for the factory are created by stars of modern architecture, for example, Sir Norman Foster. Collaboration with him began in the mid-90s, when the British architect was renovating the Reichstag: he developed the Foster 502 series specifically for the project, and then the Foster 512 soft bench and the Foster 520 armchair collection.

Walter Knoll furniture is an indicator of status and high reputation. Therefore, she is a frequent "guest" in the offices of VIP managers, conference and meeting rooms, in the lobbies of the best hotels and in prestigious public spaces. Starting with the first German television tower in Stuttgart and Berlin's Tigel Airport, and ending with the European Central Bank in Frankfurt together with King Abdullah University in Saudi Arabia.

Although the contract sector brought recognition to the brand, Walter Knoll furniture is also excellent for residential interiors. Especially for public areas, libraries and home offices. So, the architect-designer Anna Desyatnychuk-Papushenko chose bright Bao chairs by EOOS design for the living room of one of the country houses she designed: "The chair became the dominant one in the soft group of the open guest area. Similar to a layer of leather, the armchair attracted me with its rounded sculptural shape, curves of the silhouette and the characteristic combination of fabric and leather, which gives it a modern sophistication." In addition, in recent years, the company has been developing complete complex solutions for residential premises.

The founder and leading designer of the Sorokina design workshop, Tatiana Sorokina, calls the stylish, concise design and the excellent quality of the materials from which they are made the most valuable in the brand's items. "For me, they demonstrate all the qualities of timeless design. I am convinced that the owners of such things will pass them down by inheritance, since they will not lose their relevance even decades later. The proof of this is the brand's famous bestsellers. For example, for one of the offices in Pechersk, we chose FK lounge chairs and the Seito dining group from Walter Knoll.

I assume that if the office moves, then these items will follow the owners. In the interiors of the cottage town in Dmytrovka, we used the Andoo dining group - a large dining table made of natural wood, which is perfectly combined with the leather armchairs, as well as the Isanka model - the first soft coffee table in my memory, which also acts as a pouf. And in private apartments in the spirit of Japanese minimalism on ul. The metrological decoration of the living room area was the Oota table with a wicker base designed by EOOS — an iconic and recognizable model of the factory."

 

I am a legend!

So, what makes a design object a real icon that lives for many decades, is passed down by inheritance and even deserves a place of honor in museums around the world? What characteristics should it have in order for it to be recognized as iconic? Is the quality of the original form sufficient for this?

Project 900. Architecture of the female gender

"Cult items, as a rule, are called items that were produced in sufficiently large quantities and gained world fame. Some outstanding samples have such impeccable quality that they have been considered genuine cultural treasures for decades and are still produced, in many cases by the same companies. For example, Ludwig Mees van der Rooy's steel and leather Barcelona chair from 1929 is so timeless that many mistake it for contemporary, or Hans Wegner's teak Round Chair from 1949-1950, which is still produced by the Danish brand PP Møbler. In my opinion, there are three criteria that define a design icon: it should reflect the time in which it was created, have a wide distribution and a large circulation, and be able to withstand copying — an important feature," says Olga Korniyenko, chief architect-designer of 33BY Architecture.

In response to the question about the characteristics of a cult object of design, Anna Desyatnychuk-Papushenko draws a parallel with works of art. "An object that has become a legend in the world of design causes the same excitement as beautiful music or a painting," she shares. — A mature, established person, for whom not only the individual author's approach is important, but also the deep philosophy of creation and birth of an idea, can understand and appreciate a cult object.

For the designer and architect Nika Vorotyntseva, the iconicity of the object determines the approach to ego creation. "I'm interested in how the designer came to a certain decision, to a specific association, when the object becomes the result of his thought process," she says. — The author's interpretation is also interesting, when a familiar object or phenomenon is expressed in a new form, but at the same time the analogue is recognizable.

For example, I like things made by Patricia Urquiola. Irregular-shaped carpets for cc-tapis, Nuez chairs and armchairs for Andreu World, ceramic blocks and tiles for Mutina — she knows how to see an object from an unusual angle. By the way, I noticed a similar approach to design in the Nendo group, I visited several of their exhibitions: such non-boring minimalism with its own subtext. And if I cite the example of Ukrainian designers, then I find a similar vector in the search for solutions in Kateryna Sokolova and Sergey Gotvyansky."

Summing up, it can be said that a design item becomes a legend when, along with a utilitarian function, it has a unique context as a result of a creative search, a certain "connotation", only expressed by the author not in words, but in design.

 

Text: Rich Hope