“Monochromes” evokes a typology of mutating furniture, a precipitation obtained by the desire to fuse art, architecture and furniture. “Monochromes” is a manifesto piece of furniture, a hybrid between a surface with right angles that echoes the perimeter of a picture frame but also the ridges of an architectural plan and a functional sofa with sensual shapes and strong links to ergonomics and comfort. This design questions the status of a bourgeois class with its emblematic sofa and the place of art in the range of acquisitions made by the socially successful. It also redefines the spatial position of the sofa in the living room by attaching it to the wall; Robert Stadler upsets the mobile nature of the sofa transforming it into an architectural element that implies interdependence between the built space and the piece of furniture, a typological renewal in some ways, a kind of functional panel. A necessary evolution at a time of augmented reality, an invitation to upset the applecart of the history of our living environment that seems to be stranded in limbo. The leather covering, padded in places, fades into a stretched, smooth leather surface, like canvas pulled tightly over a frame or a window open in the surface of a wall. Robert Stadler creates an upset in our perception through his conceptual approach and proposes a mutation of functional design into a fictional and alternative design.
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.