{"id":342245,"date":"2020-05-22T14:30:00","date_gmt":"2020-05-22T18:30:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=342245"},"modified":"2021-12-15T06:09:05","modified_gmt":"2021-12-15T11:09:05","slug":"nazara-lazaro-sight-unseen","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/nazara-lazaro-sight-unseen\/","title":{"rendered":"Nazara L\u00e1zaro\u2019s Crooked Collection Is the Anti-Judd \u2014 No Right Angles, No Symmetry"},"content":{"rendered":"\n
\"Nazara
Nazara L\u00e1zaro’s Crooked collection<\/a>. Photos by Fanette Guilloud<\/figcaption><\/figure>\n\n\n\n

Nazara L\u00e1zaro<\/a> recalls the moment she first stumbled on the technique that would eventually become her Crooked collection. \u201cBy chance or by mistake, I decided to break up every straight line I came across,\u201d she says of the process, which she realized by accident while modifying some of her previous, more conventional pieces.<\/p>\n\n\n\n

Composed of a shelf, room divider, daybed, coffee table and desk, the collection is simultaneously austere and expressive \u2014 like someone loosened the screws of a Donald Judd<\/a> piece then tossed it into the spin cycle. There are still traces of the essential form, but somewhere along the line, things begin to break down.<\/p>\n\n\n\n

\"Nazara<\/a>
Crooked lounge chair<\/a><\/figcaption><\/figure>\n\n\n\n

Each piece in the collection follows a similar logic: Straight lines are intentionally skewed, and all 90-degree angles are squashed or splayed, banishing any semblance of symmetry. \u201cIt\u2019s very spontaneous,\u201d she says of the process. \u201cI create hundreds of designs, always breaking the lines.\u201d She then whittles down the selection, choosing the versions that speak to her most.<\/p>\n\n\n\n

No two pieces that make it into the carpenter\u2019s workshop are the same; rather, they follow a similar language of disorder. The collection uses massive oak for its warm contrast to the angular lines. \u201cI wanted to show the wood in the purest way possible,\u201d she says, explaining her choice of the material, which she finishes with hard wax oil.<\/p>\n\n\n\n

\"Nazara
Crooked desk and chairs<\/figcaption><\/figure>\n\n\n\n

\u201cWith this concept, every piece is a little bit different. That\u2019s what makes it special. For example, you can have a dining room set with four chairs and all the chairs differ slightly.\u201d The technique feels closer to an algorithm than something cooked up in a wood shop, but it all makes sense when you consider L\u00e1zaro\u2019s process.<\/p>\n\n\n\n

She first generates a digital form using 3-D-modeling software \u2014 a sought-after skill she\u2019s lent to collaborations with Instagram darlings Dello Studio \u2014 and it\u2019s only once everything comes together virtually that she then translates it into a physical form with the help of a woodworker.<\/p>\n\n\n\n

\"Nazara<\/a>
Crooked bench<\/a><\/figcaption><\/figure>\n\n\n\n

Originally from Tenerife, L\u00e1zaro studied interior design at the Istituto Europeo di Design in Madrid prior to settling in Berlin, where she now lives and works. Though her current process is developed entirely on-screen, it was a formative period spent working solely in analog that steered her practice toward what it is today.<\/p>\n\n\n\n

In 2010, she embarked on a research sabbatical to Japan, cycling across the country and soaking up its storied design and craft culture along the way. During her trip, she ended up at the home of ceramicist Takayuki Watanabe and, enamored with his way of working, asked if she could stay on as an assistant.<\/p>\n\n\n\n

\"Nazara
Crooked shelf<\/figcaption><\/figure>\n\n\n\n

\u201cI was so shocked and so inspired,\u201d she recalls of her first meeting with Watanabe and his wife, in a rural area of the Shizuoka peninsula where they lived a pared-back life devoted to their craft. \u201cI felt like this is all I want in my life. I wanted to learn everything from them, so I offered to help to do whatever they needed in order to be close and learn from them.\u201d<\/p>\n\n\n\n

L\u00e1zaro spent three months embedded in Watanabe\u2019s workshop, designing a new studio building \u2014 a domed, wood-frame pavilion shaped vaguely like a boat, she says \u2014 and worked with local carpenters to realize that vision.<\/p>\n\n\n\n

\"\"<\/a>
Crooked dining chair<\/a><\/figcaption><\/figure>\n\n\n\n

\u201cIt\u2019s interesting because now I\u2019m working mostly with a computer. But at that time, it was all by hand,\u201d she remembers of the experience, which introduced her to subtleties of Japanese craft. The influences of those months are clearly legible in this collection.<\/p>\n\n\n\n

\u201cJapanese design always seems like the most basic thing,\u201d she reflects, \u201cbut even the most simple design won\u2019t be perfect or completely symmetrical. In that way, this collection is influenced by that way of thinking. I am only changing an angle, but it changes everything.\u201d<\/p>\n\n\n\n

\n\n\n\n

This piece is part of Sight Unseen\u2019s 2020 Offsite Offline<\/a> coverage. To view Nazara L\u00e1zaro\u2019s virtual booth on Offsite Online, click here<\/a>. To purchase her designs on 1stDibs, follow this link<\/a>!<\/em><\/p>\n\n\n\t

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Nazara L\u00e1zaro recalls the moment she first stumbled on the technique that would eventually become her Crooked collection. \u201cBy chance or by mistake, I decided to break up every straight line I came across,\u201d she says of the process, which she realized by accident while modifying some of her previous, more conventional pieces. Composed of 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