PIN CHAIRS IN NEW INTERPRETATIONS
Furniture company PYRA premieres a unique chair project at the furniture fair in Älvsjö where six of our foremost contemporary designers and artists have been invited to freely develop the pin chair’s expression and function. The chairs are in production and can be ordered.
The designers and artists are: Gunnar Cyrén, Ebba Matz, Peter Andersson, Matti Klenell, Kristina Jonasson and Mårten Cyrén. The designers and artists will be present in Pyra’s booth Wednesday 7/2 at 10-12 and Thursday 8/2 12-14. (Gunnar Cyrén only Thursday) Booth no: COS:61
-The reason we started this project is that we wanted to create new furniture with an old tradition. With an open approach, the participants have met and discussed the subject and the products. We want to show with these chairs that design is not just about scaling down our history but also about adding meaning, says Ivar Björkman, one of the founders of Pyra.
Gunnar Cyrén makes his debut as a furniture designer with this project: “A pin chair is a pin chair. But sometimes…. occasionally… one thinks it would be interesting to see it in a new place and with perhaps new proportions. Therefore I have made an attempt this time and placed it at the bar, or if you will at the telephone or somewhere else where it doesn’t usually have its place.”
It’s also a debut as furniture designer for artist Ebba Matz: “In my usual activity as an artist I want what I do to work mentally, but I wouldn’t necessarily require that it should be usable in a purely physical sense. I got the idea when I was sitting listening to a lecture about art. And now I can see that my idea about the pin chair is rather a so-called Leksand chair.”
Peter Andersson, designer: “The pin chair is an icon for the chair. It is the epitome of the chair. What happens if you put the pin chair in a lecture hall? Yes indeed, in a hundred rows, fifty chairs in each row. Is it possible? Can one do that?
Matti Klenell, designer: “The starting point was to make a piece of furniture with turned legs fitted into a seat which in turn offers attachment for additional turned pins, explains Matti. The result became a piece of furniture as a tool to sit on, lean against, mirror oneself in, light up with, place things on, or put things in.”
Kristina Jonasson, designer: “Vacuum forming, to press off ‘the symbol pin chair’, became my starting point for the project, explains Kristina. Here the back got to function as a target while seat and legs have been given a subordinate role. The impression in the plastic back creates folds in the material that constructively give stability to the back.”
Mårten Cyrén, designer: “My approach is simple, similar to someone making a stool to sit on during milking, explains Mårten. Working with proportion and dimension, the seat’s shape and the pins’ placement and length, provides function, expression and an idea about use.”
The project will also be shown in New York in May and at Virserums konsthall in the summer. Photographer is Fredrik Sandin Carlsson.
-The reason we started this project is that we wanted to create new furniture with an old tradition. With an open approach, the participants have met and discussed the subject and the products. We want to show with these chairs that design is not just about scaling down our history but also about adding meaning, says Ivar Björkman, one of the founders of Pyra.
Gunnar Cyrén makes his debut as a furniture designer with this project: “A pin chair is a pin chair. But sometimes…. occasionally… one thinks it would be interesting to see it in a new place and with perhaps new proportions. Therefore I have made an attempt this time and placed it at the bar, or if you will at the telephone or somewhere else where it doesn’t usually have its place.”
It’s also a debut as furniture designer for artist Ebba Matz: “In my usual activity as an artist I want what I do to work mentally, but I wouldn’t necessarily require that it should be usable in a purely physical sense. I got the idea when I was sitting listening to a lecture about art. And now I can see that my idea about the pin chair is rather a so-called Leksand chair.”
Peter Andersson, designer: “The pin chair is an icon for the chair. It is the epitome of the chair. What happens if you put the pin chair in a lecture hall? Yes indeed, in a hundred rows, fifty chairs in each row. Is it possible? Can one do that?
Matti Klenell, designer: “The starting point was to make a piece of furniture with turned legs fitted into a seat which in turn offers attachment for additional turned pins, explains Matti. The result became a piece of furniture as a tool to sit on, lean against, mirror oneself in, light up with, place things on, or put things in.”
Kristina Jonasson, designer: “Vacuum forming, to press off ‘the symbol pin chair’, became my starting point for the project, explains Kristina. Here the back got to function as a target while seat and legs have been given a subordinate role. The impression in the plastic back creates folds in the material that constructively give stability to the back.”
Mårten Cyrén, designer: “My approach is simple, similar to someone making a stool to sit on during milking, explains Mårten. Working with proportion and dimension, the seat’s shape and the pins’ placement and length, provides function, expression and an idea about use.”
The project will also be shown in New York in May and at Virserums konsthall in the summer. Photographer is Fredrik Sandin Carlsson.
It’s also a debut as furniture designer for artist Ebba Matz: “In my usual activity as an artist I want what I do to work mentally, but I wouldn’t necessarily require that it should be usable in a purely physical sense. I got the idea when I was sitting listening to a lecture about art. And now I can see that my idea about the pin chair is rather a so-called Leksand chair.”
Peter Andersson, designer: “The pin chair is an icon for the chair. It is the epitome of the chair. What happens if you put the pin chair in a lecture hall? Yes indeed, in a hundred rows, fifty chairs in each row. Is it possible? Can one do that?
Matti Klenell, designer: “The starting point was to make a piece of furniture with turned legs fitted into a seat which in turn offers attachment for additional turned pins, explains Matti. The result became a piece of furniture as a tool to sit on, lean against, mirror oneself in, light up with, place things on, or put things in.”
Kristina Jonasson, designer: “Vacuum forming, to press off ‘the symbol pin chair’, became my starting point for the project, explains Kristina. Here the back got to function as a target while seat and legs have been given a subordinate role. The impression in the plastic back creates folds in the material that constructively give stability to the back.”
Mårten Cyrén, designer: “My approach is simple, similar to someone making a stool to sit on during milking, explains Mårten. Working with proportion and dimension, the seat’s shape and the pins’ placement and length, provides function, expression and an idea about use.”
The project will also be shown in New York in May and at Virserums konsthall in the summer. Photographer is Fredrik Sandin Carlsson.
Matti Klenell, designer: “The starting point was to make a piece of furniture with turned legs fitted into a seat which in turn offers attachment for additional turned pins, explains Matti. The result became a piece of furniture as a tool to sit on, lean against, mirror oneself in, light up with, place things on, or put things in.”
Kristina Jonasson, designer: “Vacuum forming, to press off ‘the symbol pin chair’, became my starting point for the project, explains Kristina. Here the back got to function as a target while seat and legs have been given a subordinate role. The impression in the plastic back creates folds in the material that constructively give stability to the back.”
Mårten Cyrén, designer: “My approach is simple, similar to someone making a stool to sit on during milking, explains Mårten. Working with proportion and dimension, the seat’s shape and the pins’ placement and length, provides function, expression and an idea about use.”
The project will also be shown in New York in May and at Virserums konsthall in the summer. Photographer is Fredrik Sandin Carlsson.
Mårten Cyrén, designer: “My approach is simple, similar to someone making a stool to sit on during milking, explains Mårten. Working with proportion and dimension, the seat’s shape and the pins’ placement and length, provides function, expression and an idea about use.”
The project will also be shown in New York in May and at Virserums konsthall in the summer. Photographer is Fredrik Sandin Carlsson.
