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Sabine Marcelis Double Chaise Longue from the Series “No Fear of Glass”, 2019

Name: Sabine Marcelis Double Chaise Longue from the Series “No Fear of Glass”, 2019
Brand: Sabine Marcelis
Price: 86836.15 AUD
Availability: InStock
Rating: 5 (2 reviews)

About the Item

Sabine Marcelis Double chaise longue From the series “No Fear of Glass” Manufactured by Sabine Marcelis Produced in exclusive for SIDE GALLERY, Barcelona Rotterdam, The Netherlands 2019 Layered curved glass, Travertine Measurements 202 cm x 247 cm x 53 H cm 79.52 in x 97.24 in x 20.86 H in. Edition Limited edition of 7 + 1 Artist Proof Exhibition “No fear of glass” is the first institutional solo show of all new unique works by Sabine Marcelis. It was also the first time Fundacio Mies Van de Rohe has opened its doors to a designer to stage an intervention. Marcelis has used the opportunity to explore how the design ideals and materiality with which the pavilion has been constructed can be translated into the creation of functional furniture pieces. The title of the exhibition responds to ‘Fear of Glass’, the book about Mies van der Rohe’s Barcelona Pavilion by Josep Quetglas. Mies van der Rohe was famously asked to not use too much glass in the pavilion, Marcelis’s works in turn are only produced from glass; pushing the materials limits to its extreme. The pieces here seem to be grown and extruded from the architecture itself; two large chaise lounges which are pulled up from the ground by extending the travertine floor to form a base are sliced by a singular sheet of curved glass which is seemingly pulled from the walls. The two materials meet to become sculptural yet functional furniture pieces. Concept Made in exclusive for the intervention at The Barcelona Pavillion by Mies Van der Rohe, Sabine Marcelis ´s works confront Van der Rohe ´s Masterpiece with tenacious perception; two chaise lounges, one wide the other narrow are composed by a slice of layered curved glass seemingly extracted from the onyx wall, which appears to float above the ground, as the base is perceived as a continuation of the Roman travertine floor, which swells up and intersects with the glass doubling as a neck rest to provide comfort and complete the form of a chaise lounge .The material and structural sensibility of the chaise lounges are a perspicuous reflection of the designer’s desire synthesize the pavilion’s modern architecture and functional design. The pieces are carefully ergonomically considered as well as taking their scale from the pavilion. As a result of these conditions the objects parallel the capacious scale of the pavillion, yet within this larger than human scale, the sharp design details forged by Marcelis, such as the shape of the neck-rest and the exact radius of the curved glass permit practicality. Bio Sabine Marcelis is a designer living and working in Rotterdam the Netherlands. Raised in New Zealand, she studied industrial design for two years at Victoria University of Wellington, and continued her studies at the Design Academy Eindhoven, where she graduated in 2011. Since graduating, she has been operating Studio Sabine Marcelis, working within the fields of product, installation and special design with a strong focus on materiality. Her work is characterised by pure forms which highlight material properties.

Creator:
Sabine Marcelis (Artist)
Dimensions:
Height: 20.87 in (53 cm)Width: 97.25 in (247 cm)Depth: 79.53 in (202 cm)
Style:
Modern (In the Style Of)
Materials and Techniques:
Cut Glass
Place of Origin:
Netherlands
Period:
21st Century
Date of Manufacture:
2019
Production Type:
New & Custom(One of a Kind)
Estimated Production Time:
2-3 weeks
Condition:
Seller Location:
Barcelona, ES
Reference Number:
1stDibs: LU2374317643232

Shop All Sabine Marcelis

Sabine Marcelis

Dutch-Kiwi designer Sabine Marcelis’s work is at the forefront of contemporary material innovation in product and installation design. She works with glass manufacturers and more, forging partnerships across her industry to bring her ambitiously experimental projects to fruition.

Marcelis’s focus is on allowing happenstance sensory experiences to emerge by juxtaposing combinations of unlikely materials and colors. She was educated at the Design Academy Eindhoven and since founding her eponymous studio in 2011 in Rotterdam in the Netherlands, she has built a remarkable roster of clients in fashion, architecture and art.

Marcelis has created signature pieces for the likes of Rem Koolhaas’s architecture firm OMA, high-fashion labels Fendi and Isabel Marant and luxury beauty brand Aēsop. She has also exhibited at the Salone del Mobile in Milan and won Wallpaper* magazine’s Designer of the Year award for 2020.

Marcelis was invited to create a sculptural intervention for the interiors of Ludwig Mies van der Rohe and Lilly Reich’s iconic Barcelona Pavilion, which saw the debut of the pair’s timeless Barcelona chair in 1929. For her “No Fear of Glass” exhibition, the designer subverted the original request made to van der Rohe to “not use too much glass” by designing chaise longues, pillar lights and a fountain that feature glass as the main material. The rest of her work is informed by a similarly sophisticated playfulness, as evident in the charming forms she creates — she has designed doughnut-shaped rugs, the multifunctional resin Candy Cube side tables and colorful asymmetrical glass mirrors.

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Russian designer Maxim Scherbakov‘s new exhibition at Rome’s Contemporary Cluster gallery, he pushes that idea to the extreme: What if design could be all about emotion, and little else? His barely functional pieces, and his general conceit, feel uncomfortable at first — we’re not sure we want to live in a world where design is purely an aesthetic indulgence — but in an era when furniture is increasingly difficult to distinguish from art, it does feel in some ways like we already are. And the ornate backdrop of the gallery’s home, the 14th-century Palazzo Brancaccio, serves as a potent reminder that it’s possible we always have. Maxim Scherbakov, who works under the studio name Supaform, says that he developed the new collection “as a result of a careful visual search for the frontiers of comfort,” seeking to celebrate “beauty for no reason,” he says. His floor lamp has no bulb, his coffee table is too bumpy to hold a glass upright, and his desk has trick drawers and a gap in the middle where its writing surface should be. Yet his various seating elements look no less functional than, say, Rick Owens’s, and Scherbakov has a compelling raison d’etre: Also a longtime painter, he pulled all of the works directly from his canvases, making them a literal elision of the two-dimensional realm and the three. If he can celebrate fantasy and feeling in one of them, he wondered, then why not the other? This wooden sofa is a part of the 'Hidden Entourage...

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