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Monday, January 10, 2011

Ron Arad's Well Transparent Chair - Top Design in New York City

Images via

In 1986, Ron Arad designed Well Tempered Chair, bolting sheets of steel together to form a chair full of tension. Using the archetypal club chair as its model, its design is simple – four pieces of tempered steel form the shape – two for the arms, one for the seat, and one for the back. The engineering of the piece is plain to see and according to Arad ‘what you see is what you get – there is no illusion’.

Well Transparent Chair, 2010 is a contemporary re-interpretation of the original. The basic architecture of the chair remains the same, but it has been re-imagined by Arad in transparent polycarbonate, radically altering the personality of the piece.

Both ‘tempered’ chairs subvert our expectation of how a chair should behave. The chair’s apparent immateriality induces an anxiety about its ability to support us – it is, in fact, comfortable and sound – unexpectedly so. This playful duplicity between how a work looks and how it feels is one of the reasons why the original ‘Well Tempered Chair’ has proved such an enduring work.

This new piece embodies much of what makes Arad such an important figure – for all of its modernity and technical sophistication there is something very human about it.

Produced in an edition of 100 signed and numbered pieces, the Well Transparent Chair will be available exclusively from the Timothy Taylor Gallery and at Barbican Art Gallery priced at £5,000. A portion of the proceeds from the sale of each chair will benefit Barbican Art Gallery.

The Well Transparent chair comes from a designer who instead of a portfolio drew a perfect circle to gain admittance to the Architects Association. A fearless man who has gone from furniture design to architectural structures on par with greats like Gehry and Hadid, Ron Arad, has taken furniture to new heights and costs. Its simplicity is not simplistic, its duality does not echo of dualism - but rather a plurality of form and philosophy. That the chair is not there and that the chair can be made of curvalinear forms that have little to do with a response to the human body is pure wizardry. It is the sound of one hand clapping - it is zen philosophy in built form. It is a former object that is now manifest as if it were reincarnated into a similar but dramatically different entity. It is the butterfly emerging from the chrysalis.

Ron Arad continues to take flight - in his whimsical interviews one senses the playful seriousness of the zen master.

- Ecomanta