Property from an important Swiss collection Joris Laarman Important 'Bridge' table 2010 Aluminium, tungsten carbide. 74.5 x 330 x 127 cm (29 3/8 x 129 7/8 x 50 in.) Produced by Joris Laarman Studio, the Netherlands, for Barry Friedman Gallery, New York. Number 7 from the edition of 8. Underside laser-etched with facsimile signature Joris Laarman and 7/8.
Provenance Friedman Benda, Ltd., New York Acquired from the above by the present owner, 2010 Literature Anita Star, ed., Joris Laarman Lab, exh. cat., Groninger Museum, Groninger, 2015, pp. 20, 122-27 Catalogue Essay Another example of the Bridge table is in the permanent collection of the National Gallery of Victoria, Melbourne, Australia. Phillips and Dr. Jana Scholze would like to thank Joris Laarman for this interview. The Bridge table by Joris Laarman by Jana Scholze Boundaries between disciplines are ever more blurred and distinctions less obvious. Where does design practice stop and engineering start? Does science influence design, or design inform science? Is technology even possible without design? Such questions become increasingly difficult to answer. In response, Joris Laarman has implemented an interdisciplinary structure in his studio combining technology and craft. Code-writers, often with an architectural background work together with craftsmen. ‘The studio is like a mini-society where software engineers work together with traditional craftsmen’, Laarman explains, ‘I am very careful with choosing people but most of them come from the same European universities or local craft schools. This is little surprising given that the studio practice needs very specific skills and knowledge, and these schools seem to cherish and most importantly teach them.’ Unsurprisingly, the work of the studio prescribes high-tech and is not shy to use heavy machines and robots. But the final objects demonstrate the fineness of the crafted and hand-finished. Bridge table is an excellent example of this fusion. It is a monocoque object made in aluminium and tungsten carbide created by algorithms, robots and craftsmen. Its shiny table top continues fluently into an organic structure that supports the table from four points on the ground forming an arch in the middle. The organic appearance is increased through bracing rods that stabilise the arch. The reference is unmistakably bone structures which were Laarman’s inspiration for a whole collection of furniture. The so-called ‘Bone Furniture’ is based on research, which intends to mimic natural growth structures in bones through smart algorithms. This research had been prompted by observations that bones optimise their growth as an evolutionary process by adding material only were necessary and reducing material where possible. Laarman applied the algorithm in the process of designing furniture, intending to proof the optimal use of material while structural strength was not compromised. The outcome is Laarman’s Bone Furniture, a series of limited edition objects that includes Bone Chair, Bone Chaise, Bone Arm Chair, Bone Rocker, Bridge (table) and Branch (shelf). After a two year design process, the first object was presented in 2006; it took however more than a decade to materialise a full series, indicating a demanding and ambitious project. The long process also alludes to the fact that the aspiration behind the series was not the completion of a set of furniture but – in the true sense of a laboratory - testing out and facing challenges occurred in the application of such algorithm to objects with different functions in various materials. Laarman emphasises: ‘I am not just interested in furniture but the process offered a valuable field for testing the application. The Bone Furniture is a series of objects that first and foremost represent a world of thinking.’ Now, a decade later, such design algorithms are being implemented in a wide range of industries with the intention to optimise construction and weight. Despite being a rather large sculptural object, the Bridge table presented its challenge not necessarily in the design of its form and structure, but in its finish. The choice fell on aluminium because of its material’s qualities, such as being easily malleable, lightweight and low in density, the latter enabling resistance to corrosion; most importantly it allows tension over
Property from an important Swiss collection Joris Laarman Important 'Bridge' table 2010 Aluminium, tungsten carbide. 74.5 x 330 x 127 cm (29 3/8 x 129 7/8 x 50 in.) Produced by Joris Laarman Studio, the Netherlands, for Barry Friedman Gallery, New York. Number 7 from the edition of 8. Underside laser-etched with facsimile signature Joris Laarman and 7/8.
Provenance Friedman Benda, Ltd., New York Acquired from the above by the present owner, 2010 Literature Anita Star, ed., Joris Laarman Lab, exh. cat., Groninger Museum, Groninger, 2015, pp. 20, 122-27 Catalogue Essay Another example of the Bridge table is in the permanent collection of the National Gallery of Victoria, Melbourne, Australia. Phillips and Dr. Jana Scholze would like to thank Joris Laarman for this interview. The Bridge table by Joris Laarman by Jana Scholze Boundaries between disciplines are ever more blurred and distinctions less obvious. Where does design practice stop and engineering start? Does science influence design, or design inform science? Is technology even possible without design? Such questions become increasingly difficult to answer. In response, Joris Laarman has implemented an interdisciplinary structure in his studio combining technology and craft. Code-writers, often with an architectural background work together with craftsmen. ‘The studio is like a mini-society where software engineers work together with traditional craftsmen’, Laarman explains, ‘I am very careful with choosing people but most of them come from the same European universities or local craft schools. This is little surprising given that the studio practice needs very specific skills and knowledge, and these schools seem to cherish and most importantly teach them.’ Unsurprisingly, the work of the studio prescribes high-tech and is not shy to use heavy machines and robots. But the final objects demonstrate the fineness of the crafted and hand-finished. Bridge table is an excellent example of this fusion. It is a monocoque object made in aluminium and tungsten carbide created by algorithms, robots and craftsmen. Its shiny table top continues fluently into an organic structure that supports the table from four points on the ground forming an arch in the middle. The organic appearance is increased through bracing rods that stabilise the arch. The reference is unmistakably bone structures which were Laarman’s inspiration for a whole collection of furniture. The so-called ‘Bone Furniture’ is based on research, which intends to mimic natural growth structures in bones through smart algorithms. This research had been prompted by observations that bones optimise their growth as an evolutionary process by adding material only were necessary and reducing material where possible. Laarman applied the algorithm in the process of designing furniture, intending to proof the optimal use of material while structural strength was not compromised. The outcome is Laarman’s Bone Furniture, a series of limited edition objects that includes Bone Chair, Bone Chaise, Bone Arm Chair, Bone Rocker, Bridge (table) and Branch (shelf). After a two year design process, the first object was presented in 2006; it took however more than a decade to materialise a full series, indicating a demanding and ambitious project. The long process also alludes to the fact that the aspiration behind the series was not the completion of a set of furniture but – in the true sense of a laboratory - testing out and facing challenges occurred in the application of such algorithm to objects with different functions in various materials. Laarman emphasises: ‘I am not just interested in furniture but the process offered a valuable field for testing the application. The Bone Furniture is a series of objects that first and foremost represent a world of thinking.’ Now, a decade later, such design algorithms are being implemented in a wide range of industries with the intention to optimise construction and weight. Despite being a rather large sculptural object, the Bridge table presented its challenge not necessarily in the design of its form and structure, but in its finish. The choice fell on aluminium because of its material’s qualities, such as being easily malleable, lightweight and low in density, the latter enabling resistance to corrosion; most importantly it allows tension over
.jpg?w=400 "Quelle: Christie's")
.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
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