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Object-Oriented Identity

@objectidentity

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Object culture and Identity ⛓ #ooi @zsofiakollar 🔗 Object-Oriented Identity with @artpapereditions, based in NL

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NEW REVISED EDITION!

Zsofia Kollar
Object-Oriented Identity: Cultural Belongings from our Recent Past

15 × 20 cm, 216 p, ills colour, softcover
ISBN 9789464770872

‘Object-Oriented Identity: Cultural belongings from our recent past’ is a journey through objects and identities. Through curiosity, it helps discover the unforeseeable directions in our product-oriented society, where one is no longer the sum of their actions, but the sum of their own objects.

OOI is a catalog constructed as a result of a personal fascination with understanding the nature of our consumption. It investigates the odd connections between objects and history and their cultural relevance in our individual and collective identities.

Everyday objects are presented through a new lens, for one to show another side of these familiar items, and for another to question how much these objects can transform or manipulate one’s identity. Objects are becoming a part of our bodies, everything we own is an extension of the body and mind. The tools that we are shaping and that are now starting to shape us are at the edges of our comprehension. We have to understand how tools are shaping us, and how to cope with that shaping in the time of hyper-change.

In today’s world, the consumer spree carries on regardless, and a few of us are aware that we are still willing servants to a completely artificial injunction to consume and to define ourselves by what we consume.

@zsofiakollar
@objectidentity
@artpapereditions
@monogram.paris
@jurgen_maelfeyt by @objectidentity

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2 years ago

Damiano Spelta | Giip Sofa

What happens when furniture becomes a provocation rather than simply an object of comfort?

Italian artist and designer Damiano Spelta approaches furniture through humour, irony, and unexpected transformations of familiar objects.

Drawing inspiration from Dadaism and Pop Art, his practice challenges the boundaries between sculpture, functional design, and everyday culture.

Throughout more than twenty years of experimentation, Spelta has transformed ordinary objects into unusual pieces of furniture. A wristwatch becomes a seat, a fishing rod turns into a floor lamp, and an oversized lipstick supports a glass tabletop.

The Giip Sofa continues this exploration through a distinctive geometric structure and an iconic grid motif that extends across its seat cushion.

Handcrafted from genuine leather, with a wooden frame and aluminium details, the sofa combines traditional furniture making with a playful, graphic approach to form.

#DamianoSpelta #Giip #RossanaOrlandi #CollectibleDesign #ItalianDesign #RadicalDesign #PopArt #FurnitureDesign #SculpturalFurniture by @objectidentity

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7 hours ago

Roger Haan @zachtezaken | No. 1 Chair with @adaradesign

What happens when the material determines the design, rather than the other way around?

Dutch designer and upholsterer Roger Haan explores this question through the No. 1 Chair, developed using ādara® Felt, a new keratin protein textile material created by @humanmaterialloop from regenerated human hair.

Rather than designing a chair and selecting a textile to cover it, Haan began with the material itself. Its behaviour, structural properties, and possibilities for tension became the starting point for the furniture's construction.

The textile can be removed without destroying the frame, allowing individual components to be repaired, replaced, or separated for recycling.

Haan's approach comes from his experience in furniture restoration and upholstery. By taking furniture apart, studying its hidden structures, and understanding traditional construction techniques, he questions which elements are actually necessary.

The No. 1 Chair demonstrates how material innovation can influence not only the appearance of furniture but also the way it is constructed, maintained, and eventually disassembled.
For ādara®, the collaboration marks an important step from material development into functional furniture, allowing a new textile to establish its own design language.

Presented at Dutch Design Week 2026, the chair is available in different colours and configurations, including an armchair, love seat, and extended seating system.

#RogerHaan #Adara #HumanMaterialLoop #DutchDesignWeek #DDW2026 #MaterialInnovation #FurnitureDesign #CircularDesign #TextileInnovation #DesignForDisassembly by @objectidentity

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14 hours ago

@atelierlinconnu | The Conversation We Never Had

Can furniture express a conversation that never happened?

The Conversation We Never Had, a sculptural table by Atelier L'inconnu, explores the relationship between furniture, human connection, and emotional distance.

Two seating forms lean towards one another, almost touching, yet remain separated by the space between them. Rather than existing as independent chairs, both seats emerge directly from the table's structure, creating a continuous composition in which furniture and the human body become closely connected.

Crafted from resin and finished with handwoven elements, the piece combines contrasting materials and processes. The synthetic rigidity of resin meets the tactile character of weaving, establishing a dialogue between permanence and fragility, industrial production and manual craftsmanship.
What makes the work particularly interesting is its reinterpretation of the dining table. Traditionally a place for gathering, conversation, and shared experiences, the table becomes a physical representation of communication itself.

The integrated seating arrangement determines how two people occupy the object. Their positions are fixed, their proximity carefully defined, and their relationship shaped by the furniture's construction.
The work also challenges conventional furniture typologies. Where does the table end and the chair begin? Can an object designed for social interaction become a sculpture about the absence of that interaction?

#AtelierLinconnu #CollectibleDesign #SculpturalFurniture #FurnitureDesign #ContemporaryDesign #FunctionalArt #DesignResearch #MaterialExploration by @objectidentity

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a day ago

Dutch Design Week 2026: Don’t Miss List!

Nine days, hundreds of exhibitions, and endless design inspiration. Where to start?

I’ve put together a selection of seven exhibitions worth adding to your Dutch Design Week itinerary.

1. ādara® by Human Material Loop, Roger Haan & WANDSCHAPPEN
@adaradesign @wandschappen @zachtezaken

2. Atelier Fig. | From Technique to Collection @atelier.fig

3. EX SITU: Matter in Translation
@judith_bloedjes @studiolottedouwes
@bernard_heesen @willemvhooff @_shaharlivnedesignstudio_ @merging_matter_atelier @studio_jusa @tsugiwoodworks @matthiasquadekker

4. Knikkers & Knaken by Manon van Hoeckel × Triodos Bank
5. Made by Migration: Eindhoven Past, Present, Future @foundationweare

6. Everything Moist Seems Alive by @maisonthefaux @mu_hybrid_art_house @boris.acket

7. Among Strangers
@thesocialhub.netherlands
@social_label

From material innovation and experimental design to social questions and unexpected collaborations, these are some of the presentations we’re looking forward to.

📍 Eindhoven
📅 17 to 25 October 2026

Save this list for your DDW visit and tell us what else should be on the list!

#DutchDesignWeek #DDW2026 #DesignInnovation #MaterialInnovation #ContemporaryDesign Eindhoven by @objectidentity

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2 days ago

@alessandrociffosilicone | La Bürsch Cabinet

What appears to be a monumental cabinet made from marble and granite is, in fact, constructed entirely from regenerated silicone.

Italian designer Alessandro Ciffo has developed a distinctive practice centred on transforming silicone, a material commonly associated with industrial applications, into furniture, sculpture, and unexpected material illusions.

La Bürsch is a collection of domestic objects that resemble monolithic stone structures. Surfaces that appear to be polished marble sit within heavy granite frames, yet every element is created through the manipulation of silicone, including regenerated scraps from Ciffo's workshop.

The project takes its name from an ancient local expression for a house in the Biella valley, where Ciffo was born and continues to work. The region has a long history of extracting syenite, a natural stone historically transported to Milan for streets and pavements.

Ciffo reinterprets this history by recreating the appearance of stone without extracting it. Instead, discarded silicone is transformed into surfaces that reproduce the colours, textures, and apparent density of natural rock.
The result challenges our perception of materials. Something associated with flexibility takes on the appearance of geological permanence. A synthetic industrial substance becomes a representation of natural stone.

#AlessandroCiffo #LaBursch #RossanaOrlandi #MaterialResearch #CollectibleDesign #SiliconeDesign #FurnitureDesign #CircularDesign by @objectidentity

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2 days ago

André Dubreuil | Paris Chair

Can a chair become a drawing in space?

Designed in 1988 by French designer André Dubreuil, the Paris Chair transforms a familiar piece of furniture into an expressive composition of curved metal lines. Constructed from flame decorated and welded steel, the chair occupies an unusual position between functional furniture, sculpture, and decorative art.

Born in 1951, Dubreuil developed a distinctive approach to furniture that combined historical references with unconventional materials and an experimental attitude towards construction. His work emerged during a period when designers were questioning the strict functional principles of modernism and reconsidering the expressive possibilities of ornament.
Rather than rejecting decoration, Dubreuil embraced it as an essential part of an object's identity.

The flame decorated finish introduces another dimension to the work. Instead of concealing the traces of heat and fabrication, the treatment transforms the metal surface into an expressive element, connecting the object's appearance to the processes used in its making.

Dubreuil's furniture often draws inspiration from historical decorative traditions, particularly the elaborate forms of Baroque and Rococo furniture, while reinterpreting them through contemporary materials and fabrication techniques. In the Paris Chair, these influences are reduced to a skeletal framework, where the decorative outline becomes the structure itself.

This relationship between ornament and construction is what makes the chair especially compelling. The curves are not simply applied to an existing piece of furniture. They define its silhouette, establish its proportions, and give the object its character.

#AndreDubreuil #ParisChair #CollectibleDesign #FurnitureDesign #DecorativeArts #DesignHistory #SculpturalFurniture #MetalFurniture #PostmodernDesign #FrenchDesign #StudioFurniture by @objectidentity

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3 days ago

Thom Mayne | Nee Chairs

What happens when an architect approaches a chair as a structural experiment rather than a conventional piece of furniture?

Designed in 1989 by American architect Thom Mayne, founder of the architectural practice Morphosis, the Nee Chair reflects an approach to design in which construction, geometry, and industrial materials become the primary means of expression.

Born in 1944, Mayne founded Morphosis in Los Angeles in 1972. The practice became associated with experimental architecture that challenged conventional ideas of structure, form, and spatial organisation. Rather than treating buildings as static, unified compositions, Mayne explored fragmentation, exposed construction, and the relationships between individual structural elements.

The Nee Chair, produced in cast aluminium, steel, and perforated steel, translates architectural thinking into the scale of the human body. Its material language is distinctly industrial, rejecting the softness and domestic familiarity traditionally associated with seating.
Instead of concealing its construction beneath upholstery or decorative finishes, the chair places emphasis on its structural components.

Created for the Leon Max Showroom in 1989, the chairs also reflect the close relationship between experimental architecture, fashion, and interior design during the late twentieth century. The showroom provided a context in which furniture could operate as part of a larger architectural identity rather than as an isolated commercial product.

During the 1980s, architects increasingly explored furniture as a means of testing ideas that could be difficult to realise at the scale of a building. Chairs became small architectural propositions, allowing experimentation with materials, engineering, balance, and unconventional geometries.

#ThomMayne #Morphosis #NeeChair #ArchitecturalFurniture #IndustrialDesign #ExperimentalDesign #PostmodernDesign #FurnitureHistory #CollectibleDesign #DesignHistory #AmericanArchitecture by @objectidentity

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4 days ago

John Cederquist | Storage Drawers

At what point does a piece of furniture become a sculpture?

American artist and furniture maker John Cederquist, born in 1946, has spent much of his career exploring the boundaries between furniture, sculpture, craftsmanship, and visual illusion. His work challenges the assumption that furniture must be understood primarily through its function, introducing unexpected proportions, unusual material combinations, and a strong sense of visual experimentation.

Created between 1971 and 1975, Storage Drawers is an early example of Cederquist's distinctive approach to furniture making. Standing 114 centimetres tall but measuring only 19 centimetres wide, the cabinet has an unusually narrow, almost architectural silhouette. Its vertical proportions give it the presence of a freestanding sculpture rather than a conventional storage object.

Constructed from imbuia, leather over wood, brass, and bone, the piece brings together materials with contrasting physical and sensory qualities. The warmth and grain of the wood meet the softness of leather, the reflective surface of brass, and the organic character of bone. Each material contributes to the object's identity, transforming a functional cabinet into a carefully considered composition.

The work belongs to a period when American studio furniture makers were increasingly questioning the separation between fine art and functional objects. Rather than treating furniture as a product defined by industrial standards, many makers approached it as a medium for individual expression, experimentation, and exceptional craftsmanship.

#JohnCederquist #StudioFurniture #AmericanCraft #FurnitureDesign #DesignHistory #CollectibleDesign #Woodworking #FunctionalSculpture #ArtFurniture #MaterialExploration by @objectidentity

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5 days ago

Gloria Caranica | Rocking Beauty Hobby Horse

What happens when a children's toy becomes a piece of modernist sculpture?

Designed by Gloria Caranica for Creative Playthings in the mid 1960s, the Rocking Beauty hobby horse represents an approach to children's furniture and play objects in which simplicity, imagination, and physical interaction take priority over decoration.

Founded in the United States, Creative Playthings became known for introducing modern design principles into the world of children's toys. Its products embraced natural materials, abstract forms, and open ended play, encouraging children to use their imagination rather than follow a predetermined narrative.

Caranica's Rocking Beauty reflects these ideas through its carefully reduced silhouette. Constructed from laminated birch, solid birch, and lacquered wood, the horse is stripped down to a series of flowing curves and structural elements. There are no painted eyes, realistic features, or unnecessary details. Instead, the object's identity emerges from its proportions, movement, and the child's interaction with it.

What makes Rocking Beauty particularly interesting is its position between sculpture, furniture, and toy design. Its form is abstract enough to exist as an independent object, yet every curve serves the physical experience of rocking, balancing, and playing.
At a time when mass produced plastic toys were becoming increasingly common, Creative Playthings offered a different vision of childhood, one shaped by tactile materials, thoughtful construction, and the belief that good design could support children's creativity.

#GloriaCaranica #CreativePlaythings #RockingBeauty #ToyDesign #IndustrialDesign #MidCenturyDesign by @objectidentity

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6 days ago

Martine Bedin | Eastern Table Lamp, 1982

In 1981, Bedin became one of the youngest founding members of the Memphis Group, established in Milan under the direction of Ettore Sottsass. Alongside designers such as Nathalie du Pasquier, Michele De Lucchi, and George Sowden, she challenged the rational principles of modernism, questioning why functional objects had to be serious, restrained, and dictated by efficiency.

For Bedin, design was never simply about solving practical problems. Objects could carry personalities, provoke emotions, tell stories, and establish relationships with the people who used them. Her work introduced humour, movement, colour, and an almost childlike sense of curiosity into industrial design.

The Eastern Table Lamp, designed for Memphis in 1982, continued this exploration of objects as sculptural compositions. Constructed from enamelled aluminium, chrome plated brass, and enamelled steel, the lamp combines geometric forms, industrial materials, and an unconventional sense of balance. Its exaggerated proportions transform an ordinary lighting object into an architectural presence.

As one of only two women among the founding members of Memphis, alongside Nathalie du Pasquier, Bedin also occupied an unusual position within a movement that would become internationally influential. Reflecting on the experience, she recalled that her participation felt entirely natural and that she did not perceive her gender as a barrier within the group.

#MartineBedin #MemphisGroup #IndustrialDesign #PostmodernDesign #DesignHistory #CollectibleDesign #RadicalDesign #ItalianDesign by @objectidentity

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7 days ago

The Ventura Cabinet by @joyful_objects_yes

The Ventura Cabinet breaks away from the idea that design needs to be serious. Rattan and wood come together in a playful piece shaped by Mexican culture, craftsmanship, and a sense of fun.

Joyful Objects, Yes! is a Mexico City based design studio founded in 2021 by industrial designer Joy Valdez, originally from Mérida, Yucatán.

Her work celebrates individuality through unexpected forms, expressive silhouettes, and traditional Mexican materials. References to local craft sit alongside sinuous shapes inspired by movement, waves, and kinetic forms.

At the heart of the studio is a simple idea: the objects we live with can bring joy.
Through Joyful Objects, Yes!, Valdez brings Mexican craftsmanship into contemporary interiors, creating pieces that feel playful, distinctive, and full of character.

#cabinet #mexicandesign #joyfuldesign by @objectidentity

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2 months ago