// The obstacle we had to face was to rule us out of all geometrical
evidence. In another way, we had to base upon a sort of roundness intimacy.
Gaston Bachelard, La poétique de l’espace, Introduction
This stool is the anti-apparatus. Simply looking at it gives a direct
understanding of its construction: its frontal aesthetic does not hide anything.
It does not lie. Ouapititudu is about the definition of a modus operandi.
It is a sort of serial production system, that integrates the power of the hand.
Digging in the materiality to design is behaving as a classic sculptor, who tries
to confront his perception of the reality with the material.
In a corner of the workshop, was lying this stack of joists pieces, so short that
worthless. I transformed it to use it, as a whole. Therefore, it was just like
a game: to define the general shape, then, precising the curves, freeing the hand
of the plan. There is not one exact right answer to define the shape, because
there are several possibilities of the materiality. The stool is not reduced
to a simple sitting surface: it is the receptacle of a counter form, the human
body, which needs a generous and fleshy profile.
This is about replacing the genesis of the shape in its old fashioned way:
the imperfect hand. Who did declare its need of regularity and symmetry,
uniformity? The chance of the joists composition gives shape to multiple
micro spatialities: the pattern is freed, cruded of mannerism. This sort
of ornament comes with the idea that the natural ornament is still in greater
accordance with the material, the most inherent to it. A climbing rope is
suspending a landscape of mounds and asymmetries.
The willingness of the modus operandi Ouapititudu is to share more know-how,
more knowledge and transparency about what the things around us are, what they do
represent, what they are made of, how much workforce is necessary to realise them,
to be wilder in the definition of the shape. After all, maybe it is only a stool.
Let’s not be so serious. /la suite/