PART OF THE PERMANENT COLLECTION OF THE FRAC NORD-PAS DE CALAIS, FRANCE
LARGE ELEMENT: H94 L245 W90 CM / H37 L96.5 W35.4 IN
LARGE POOL: L108 W70 CM / L42.5 W27.6 IN
SMALL POOL: L48 W37 CM / L18.9 W14.6 IN
STOOL: H40 L33 W33 / H15.7 L13 W13 IN
With “Pools and Pouf! “, Robert Stadler created a project based on a radical contestation of the social status of the sofa “I felt like saying that the historical dimension of the sofa makes it the piece of furniture that takes us from student-hood to adulthood, it is the ambassador of embourgeoisement. The day you buy a nice sofa, it’s all over!”. He imagined a destructive source that atomises the furniture and the materials, projecting the elements all over the room. Only the pouf survives and remains recognisable, the main shape evokes a collision between a floppy sofa and a rug, or a three-dimensional rug, lumps of matter like liquid stains are placed on the floor or the wall creating hypothetical cushions or paintings. The project was conceived using computer graphics with Stadler using a 3D mesh. This on-screen meshed effect, a stage in the design process, reappears in the final object using a padding method created in the 19th century for the Chesterfield. In order to prevent the historical reference from taking over, the padding has no buttons, it positions intersection points on the object. “Pools and pouf!” renews the history of furniture and highlights the singularity of the design project, placing the installation in a rapport with art and the manifesto.
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.