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Philippe Starck in 6 objects

Starck, a name that 'clicks' in contemporary design. More than just a name, Starck is a brand synonymous with inventiveness and creativity in contemporary design.

Design MarketOctober 2017
Starck, a name that 'clicks' in contemporary design. More than a name, a brand synonymous with inventiveness and creativity in the design landscape. Recognised the world over, Philippe Starck is the French designer with the most media coverage and is courted by industries the world over. In the space of thirty years, he has tackled every type of project: from everyday objects that he makes sublime, such as toothbrushes, door handles and cutlery, to major international hotel chains that entrust him with the task of reinventing the decoration of their palaces, not forgetting the creation of modern architectural buildings - he knows how to do it all! It's hard to sum up such a bulimic career. The fact remains that Philippe Starck continues to trust his instincts, and relies on the values that guide his work. Rather than give an overview of his achievements, we have chosen to understand the philosophy of this extraordinary personality, through 6 objects that embody the Starck spirit. Philippe Starck Philippe Starck was born on 18 January 1949 in Paris. His father, André Starck, was an aeronautical engineer who designed light aircraft. In an interview book (1), the designer explains that he spent hours in his grandparents' basement, working on a workbench to rework his toys, and admits that it was then "that he learnt to master lines and design on his own". In 1979, after a few creations, he launched his own company, Stark Products, which he renamed Ubik, in reference to Philip K. Dick's famous novel. His first real success came with the Costes family, who opened a café of the same name in the Halles district. Philippe Starck designed an armchair for the establishment that was far ahead of its time: the (1981 prototype, in production since 1984). This highly original seat features a tripod base, making it easier for waiters to move around the room. [caption id="attachment9049" align="aligncenter" width="845"] Costes armchair, imagined and designed for the Café Costes. Design Ph ilippe Starck, 1981[/caption] [caption id="attachment9034" align="aligncenter" width="596"] In the same vein as the Costes Armchair. Fauteuils J, Lang series, designed in 1984, published by Driade in 1987. Design Philippe Starck In the same vein as the Costes armchair. J armchairs, Lang series, designed in 1984, published by Driade in 1987. Design Philippe Starck In the same vein as the Costes armchair. J armchairs, Lang series, designed in 1984, published by Driade in 1987. Design Philippe Starck[/caption] Philippe Starck aims for useful design. For him, a new object must, above all, bring something to people. His design philosophy is best understood when he talks about Raymond Loewy Raymond Loewy Raymond Loewy , the father of industrial design, explaining that the success of industrial design was based on the motto "Ugly sells poorly" (2). For Starck, this implies that design is at the service of industry in order to sell better. But in his view, the formula is now outdated: the issue is no longer to sell more, but to invent legitimate products. The Costes Costes armchair also reveals another facet of Starck's work: one that redefines the relationship between people and objects. For the designer, the armchair's original base demands greater attention from its user. A kind of sensual requirement is established between the object and its subject. At the outset, a small coffee table in the spirit of the eighteenth century that opens up to become a chair. Two fundamental ideas in Starck's work come to the fore in this piece. Firstly, his taste for playfulness in allowing himself to transform an object with a precious appearance, notably by adding pink rubber nipples to the seat. The Costes armchair is also a blend of genres and styles. The cast aluminium legs contrast with the preciousness of the wood top, which in turn contrasts with the pink rubber nubs on the backrest/seat! [caption id="attachment9035" align="aligncenter" width="300"] Lola mundo table chair, Driade, 1986. Design Philippe Starck Table chair Lola mundo, Driade, 1986. Design Philippe Starck Lola mundo chair table, Driade, 1986. Design Philippe Starck[/caption] Faced with Starck's boldness and imagination, Italian publishers began to ask for his services. With Alessi in 1992, Philippe Starck created one of his most emblematic objects, which has now become A shape almost reminiscent of a spider, with a gracefully tapered body, the object is far from the traditional lemon squeezer! Acclaimed for its audacity, the Juicy Salif Juicy Salif demonstrates the power of suggestion through the object, dear to Starck. It's also a futuristic and cheeky object, which is something its creator is very happy about! [caption id="attachment9036" align="aligncenter" width="564"] Juicy Salif juicer, 1987, published by Alessi. Design Philippe Starck Juicy salif juicer, 1987, published by Alessi. Design Philippe Starck Juicy salif juicer, 1987, published by Alessi. Design Philippe Starck[/caption] In the same year, Philippe Starck designed the Hot Bertaa kettle in collaboration with Alessi. The mischievous name made people smile. Philippe Starck demonstrates his taste for simplicity and utility. A hollow conical polyamide tube runs across the top of the object, serving as both handle and funnel. It represents what the designer calls "the right object". The shape of the object evokes a shell, a reference to its name. [caption id="attachment9037" align="aligncenter" width="845"] Hot Bertaa kettle for Alessi, 1987. Design Philippe Starck Hot Bertaa kettle for Alessi, 1987. Design Philippe Starck Hot Bertaa kettle for Alessi, 1987. Design Philippe Starck[/caption] Another essential dimension of Philippe Starck's work is ecology. His aim is to design sustainable objects with a minimal ecological footprint. Against the elitism of design, Philippe Starck wants to design everyday objects with a personality, but simple and functional, usable for any occasion. He succeeded in doing this with the design of the Dr No Dr No armchair in 1996 (Kartell), a piece of furniture that is just as elegant in a living room as it is on a restaurant terrace, or a private one. comfortable, practical, light and stackable. To do as much as possible with as few resources as possible, the shell is moulded in one piece from polypropylene, a material that does not absorb water and allows the seat to be used outdoors. [caption id="attachment9038" align="aligncenter" width="845"] Dr No armchair and Dr Na round table, designed by Philippe Starck for Kartell, 1996. The table matches the chairs, same material and identical colours, except for the die-cast aluminium base Dr No armchair and Dr Na round table, designed by Philippe Starck for Kartell, 1996. The table matches the chairs, same material and identical colours, except for the die-cast aluminium base Dr No armchair and Dr Na round table, designed by Philippe Starck for Kartell, 1996. The table goes with the chairs, same material and identical colours, except for the die-cast aluminium base[/caption] In his quest for the minimum that combines design and practicality, always with a touch of humour and imagination, Philippe Starck Philippe Starck Philippe Starck achieved a master stroke in 2002 with what is undoubtedly, to this day, his best-known object and one that has been duplicated all over the world. Once again, the material of the armchair is perfect for both indoor and outdoor use. Easy to transport, the polycarbonate seat is scratchproof and shock-resistant. In practical terms, up to six chairs can be stacked on top of each other. Imaginative, daring, a blend of different styles, practical, light, available in many colours (there's even a smaller model for children), this chair has sold millions of units. Boldness and imagination, combined with certain values that Philippe Starck conveys in his design, can turn an object into a global bestseller. [caption id="attachment9039" align="aligncenter" width="300"] Louis Ghost chair, design Philippe Starck, Kartell, 2002 Louis Ghost chair, design Philippe Starck, Kartell, 2002 Louis Ghost chair, design Philippe Starck, Kartell, 2002 [/caption] [caption id="attachment9042" align="aligncenter" width="189"] Lou Lou Ghost children's armchair, decorated backrest, decorated, Kartell /caption Philippe Starck, impression d'Ailleurs. Philippe Starck, impression d'Ailleurs. With Gilles Vanderpooten. Editions L'Aube (2) La laideur se vend mal La laideur se vend mal is a book by Raymond Loewy published in 1952 and regularly republished since. By François Boutard Find all our furniture designed by Philippe Starck here! Find all our furniture designed by Philippe Starck here! Find all our furniture designed by Philippe Starck here!

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