U Magazine - - EXPOSURE -

Raw Edges is a col­lab­o­ra­tion be­tween Yael Mer and Shay Al­ka­lay. Since their grad­u­a­tion show at the Royal Col­lege of Art, Lon­don, in 2006, they have re­ceived a num­ber of in­ter­na­tional awards in­clud­ing the Wall­pa­per* De­sign Award, the Bri­tish Coun­cil Tal­ented Award and the De­sign Mi­ami/basel De­signer of the Fu­ture. Their work is part of a num­ber of mu­seum col­lec­tions, such as Mu­seum of Mod­ern Art in New York and the Art In­sti­tute of Chicago. Along­side their com­mis­sioned work, Mer and Al­ka­lay pro­duce lim­ited-edi­tion de­signs and in­stal­la­tions from their Lon­don stu­dio.

LV: Why did you agree to cre­ate an Ob­jet Nomade for Louis Vuit­ton? YM&SA: We liked the chal­lenge of work­ing on a col­lec­tion of col­lapsi­ble ob­jects. Usu­ally, the fo­cus is on how to make col­lapsi­ble ob­jects very small and flat. In this pro­ject, we mostly fo­cused on how to make them look large, sur­pris­ing and with real pres­ence when they are ex­panded. We like to find a prin­ci­ple and then to try and ap­ply it to dif­fer­ent ob­jects. In this case, we started with the arm­chair, which is the most chal­leng­ing, then ap­plied the com­fort, fold-abil­ity, strength and fi­nally the mech­a­nism to the ta­ble and light, which was a very joy­ful process. LV: Dur­ing the de­sign process for your Ob­jets, what did you con­sider first, form or func­tion? YM & SA: The prod­ucts are quite com­plex in their ge­om­e­try, so we had to con­sider both form and func­tion very care­fully. But there is more to it than that be­cause we also looked at what the shape ex­presses; if it re­minded us of some­thing else. What comes to mind when we think about peo­ple trav­el­ling with Louis Vuit­ton trunks at the end of the 19th cen­tury? LV: What have you called your Ob­jets and why? YM & SA: The Con­certina Col­lec­tion, as the fold­ing prin­ci­ple was ini­tially based on a con­certina mech­a­nism.

Con­certi­nalight­shade —Thep­a­perinthe Con­certi­nalight­shade­cre­ate­sagentle­glow whileits­float­ing­met­al­struc­ture­forms,linedin leather,afas­ci­nat­ing­play­of­shad­owsan­d­light. Con­certi­nachair — Struc­ture­made­o­fash woodand­brushed­black met­al­with­a­padded­seatof over­lap­ping­petalscov­ered in­spe­cial­green­leather.

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