CITY Issue 52

‘WE’RE NOT TRYING TO MAKE A STATEMENT THAT DESIGN IS LIKE ART, AND WE’RE NOT GOING TO BE MAKING LIMITEDEDITION DVD’S. IT’S REALLY ABOUT TRYING TO BE AN OPEN BOOK AND SHOWING PEOPLE HOW DESIGNERS ARE WORKING.’ The performances presented in Basel ranged from the wild to the subdued. Martino Gamper’s performance was among the most aggressive, as he hacked Gio Ponti furniture into pieces that he then used to build his own custom desks. On the more introspective side, the Netherlands’ Kiki van Eijk, known for designing pillow-top cabinets and benches, sat in front of one such soft desk and made sketches of designs for furniture with paint and computer. The U.K.’s Max Lamb presented one of the most fascinating performances. He had previously cast a pewter stool on a beach in Cornwall by pouring molten metal into forms he had drawn in the sand; at Design Miami Basel, he recreated the event in a large sandbox. “I would call it more a demonstration than a performance,” says Lamb. “Much of my work is based on experimentation, trial and error. I’ve always taken a huge interest in the processes involved in making work. Work is about learning, and then communicating what you have learnt, not just what you have produced. I find the communication aspect extremely important—sort of letting out a little, or perhaps big, secret—and engaging with people on another level.” Lamb also decided to go one step further and attempt a new application for the process. To do so, he sculpted the shape of a chair from lightweight polystyrene and buried it in the sandbox. He had a theory that as he poured on the molten metal, it would burn away the polystyrene and fill the void, thereby creating a pewter chair of the same shape. “The problem was that I had not tested my theory,” says Lamb, who notes that the lumpy result was less than perfect. Regardless, he says, “I liked the idea of trying something for the first time live on stage.” A new series of design performances is planned for Design Miami this December. By allowing visitors to peek into the normally private realm of studio-based experimentation, it surely won’t be the last—nor will Design Miami likely remain the only venue for such events. “At other fairs, designers usually present a finished body of work and just sort of stand around,” says Medda. “Here, you’re watching something happen in front of your eyes. There’s no filter and you’re caught in the moment. Some of them might fail, but it’s all fantastic.” This page, from left to right: Clay furniture is crafted in Dutch designer Maarten Baas’ workshop at Design Miami. Martino Gamper demolishes Gio Ponti furniture, refashioning it into custom desks. CITY 57

Table of Contents Feed for the Digital Edition of CITY Issue 52

CITY Issue 52 Contents Letter from CITY Our Friends Action Wanted City Moment In Rogue Fit The Amused Bouche Fast Food Must Haves Hot Wheels Idol Handlers Design Public Affairs Pluck of the Draw Novel Ideas Monster's Belle Not Guilty The Understudies The Hunger Elastique Where to Buy It Socials Icon

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