This might be a bench, this might be a table, is it really furniture? Robert Stadler leaves the appropriation process open to the user. These shapes surge like a random pile-up, improbable elements produced by nature; the generic shape evokes a pebble flattened by rolling waves. Though they seem random, these shapes are perfectly designed and reproduce a geometric element that could be a parallelogram with rounded edges and angles. “It is reminiscent of a pebble but there are straight lines, repeating rays, I like the tension between the natural and the artificial like with Exercise”. The ensemble is created from three elements which are combined in a random way like self-organising systems. This piece is dedicated by Robert Stadler to the Russian scientist Ilya Prigogine, Nobel prize-winner and author of “The End of Certainty. Time, Chaos and the New Laws of Nature”. The free press, New York 1997. A theory of the end of certainty, a science of doubt that suits Robert Stadler whose conceptual work and design always calls established values into question.
Robert Stadler was born in Vienna in 1966. The designer has always been drawn to the details of objects and the narratives they evoke. He studied design at the Istituto Europeo di Design in Milan before attending the École Nationale Supérieure de Création Industrielle in Paris in the late 1980s. He has continued to work in Paris ever since.
In 1992 Stadler co-founded the RADI Designers collective, whose varied practice revolved around the marriage of the everyday and the unusual. Stadler began to work on solo projects in 2002, though he continued to collaborate with RADI until the studio’s dissolution in 2008.
Stadler’s interests encompass both what he terms “aristocratic design” and objects typically deemed vulgar or absurd; he explores the possibilities for building bridges between the apparently incompatible. He is involved in furniture making, product, interaction design, art installations, and multimedia ac-tivities. He frequently questions objects’ established identities.
His furniture tends to both convey and destroy preconceived notions of what an object should be. Although works such as his Possible Furniture series may at times appear haphazard, they are perfectly constructed to fulfill their ergonomic purpose.