"Sugi" Stool

by Formel France

361 - 420 Incl.21% VAT
Insured Delivery: 30
Est delivery: Nov 18th, 2021
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Estimated production time: 4 weeks

Dimension LxWxH (cm): 32x32x45
Open Editions Material : Beech wood
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  • 14 days return policy In the rare event, you receive a piece that you are not fully satisfied with, you can return it within 14 days of receipt for a full refund except return shipping costs. Made-to-order items are not eligible for return.

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Description

“Sugi” is a little object made of solid wood, which can be used as a stool or a side table. Initially made of burnt oak, it takes its name from the Japanese technique of Shou “Sugi” Ban, a process of burning wood to make it weatherproof. The assembly principle, sturdy and obvious, is the beginning of an entire collection composed, at the moment, of a double stool and a little bench, but will be continuously completed with new products.

The “Sugi” collection is entirely made of solid beech and each product can be purchased natural or black tinted. They are made to order, by the two of us, in our workshop in Paris. The wood we use comes from sustainably managed forests, which ensure the good renewal of resources for future generations.

Additional information

Weight 7 kg
Dimensions 40 × 40 × 60 cm
discipline

Wood & Cabinetmaking

Dimensions LxWxH (cm)

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About the designer


Formel

Formel is a contemporary design studio and manufacturer based in Paris. Beginning in 2018 as a collaboration between industrial designer Timothée Concaret and cabinetmaker Nicolas Mérigout, the office was officially founded in 2019, after winning the first prize of the Cinna / Ligne Roset competition with their lamp Luce. Their aim is to reconcile industry and crafts by bringing right and ethical objects into homes. Their complementary skills make them able to work on every aspect of a design project, from drawings to self-production. As designers, their approach is rational yet sensible. Their aim is to create simple and timeless products that improve daily life. In addition, as makers, their passion for details leads them to make each part visible, as a tribute to how things are made. They work with a wide variety of clients, making no distinction between furniture, lighting, and accessories. They also produced their own furniture collection, designed and made by hand in their workshop near Paris, from sustainably managed resources.

Curated by

Currently there exists a group of designers who have reintroduced the vitality of craft into Turkish design. Their work is a continuation of the craft techniques adapted to contemporary fabrication. Importantly, they have also reorganized the symbolic potential of local Turkish craft, working directly with craftspeople who are more centrally involved in the creation of these designs. Designers working as collaborators with these craftspeople invigorate design and, at the same, using the means of handcraft, rejuvenate the symbolic import of design through a focus on gesture, form, and technique revealing a latent symbolism organically driven through process. This focus on touch leads to another feature of Turkish design: the imperfect gesture. Gestures ranging from the perfect to the imperfect are an important factor in the final form of an object. They determine the shape and contours of objects in their realization, and have an underlying iconic potency. For thousands of years, the performance of the hand in cutting, shaping, molding, and chiseling materials was the key factor in the final form of many objects. The hand’s capabilities and limitations guided the process in which function was realized, and also resulted in the aesthetics and stylization of the object, generating what can be described as “latent symbolic force”. The aesthetic and stylistic symbolism connects the object to its maker and designers giving a sense of authorial identity and originality to each work. The designer and craftsperson collaboratively and cooperatively realize this design, thus connecting to the symbolic potential of craft and objects. With geometry and pattern as a basis, form is realized within the material production of design, its techniques, and material constraints, resulting in what we can loosely term as the idiom of Turkish design in this synthesis of symbol and craft.