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www.thedesignermagazine.com 43
and at london’s architectural association exposing the steel armature, the electronic
school of architecture, he has also designed components, and the pebbles in the cement.
memorable spaces - some plastic and tactile,
others digital and ethereal - such as the COMBINED TECHNOLOGIES
lobby of the tel aviv Opera house (1994–98), to give life to his ideas, arad relies on the
Yohji Yamamoto’s showroom in tokyo (2003), latitude provided by computers as much as
and the recently completed holon design on his own exquisite drafting skills, and he
museum, israel. uses both the most advanced automated
in his influential role as head of the manufacturing techniques and the simple
design Products masters’ degree course welding apparatuses in his collaborators’
at the royal college of art in london metal workshops.
from 1997 until this year, he has nurtured Often, his work is a combination of high
several innovative designers, including Julia and low technologies, such as his lolita
lohmann, Paul cocksedge, and martino chandelier (2004) for swarovski. made with
gamper. 2,100 crystals and 1,050 white leds, the
the 1981 rover chairs, which launched lolita takes the shape of a flat ribbon wound
arad’s design career even though at the into a corkscrew shape. the ribbon contains
time he was not seeking any particular 31 processors that enable the display of
professional label, are typical of his early text messages sent to the lolita’s mobile
readymade creations. the chairs are made of phone number. for this exhibition, visitors
discarded leather seats from the rover V8 2l, can send texts to the number and the
anchored in tubular-steel frames using kee messages appear at the top of the chandelier
klamps, an inexpensive scaffolding system. and slowly wind down the ribbon’s curves,
arad stopped making them once he creating the impression that the chandelier is
realized that the overwhelming demand for spinning ever so slightly. designer
the chairs was transforming his atelier into
a dedicated rover chair manufacturer. the Ron Arad: No Discipline runs until 19
italian company moroso is about to produce October 2009 at the Museum of Modern
an industrial version of the chair under the Art, New York. It will then return to
name moreover. Europe, showing at the Stedelijk Museum in
the concrete stereo (1983) is another Amsterdam in 2010
milestone in arad’s work with readymades.
it is simply a hi-fi system - with turntable, MOMA
amplifier, and speakers - cast in concrete. www.moma.org/ronarad
the concrete was then partially chipped away,
“Often, his wOrk is a
cOmbinatiOn Of high
and lOw technOlOgies”
twisted loop and consists of 240 square
cut-outs lined with stainless steel that act as
shelves for the objects in the exhibition.
the dramatic installation relies on the
scale of the structure and on the reflectivity
of the inner walls of the cut-outs which
creates a ricocheting effect. One side of
the structure is continually covered with
grey gauze fabric that acts as a translucent,
elastic membrane.
MEMORABLE SPACES
ever since he founded his studio, together
with long-time business partner caroline
thorman, in 1981 (first called One Off,
and then re-established in 1989 as ron
arad associates), arad has produced an
outstanding array of innovative objects, from
limited editions to unlimited series, from
carbon-fibre armchairs to polyurethane
bottle racks.
a designer and an architect, trained at
the bezalel academy of art in Jerusalem
Ron Arad.indd 43 27/8/09 15:07:58
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