Monday April 29 2013 / Art & Design
At the beginning of the month, the furniture equivalent of Baselworld took place: The Salone Internazionale del Mobile in Milan, Italy is the largest interior design fair in the world.
Those who attended had the chance to glimpse this stunning cabinet created by local designer Ferruccio Laviani's for furniture brand Fratelli Boffi.
No, it is not a digital shot that has been Photoshopped – it is an oak storage unit that has been intricately carved by a CNC machine to resemble a doctored image.
The piece, aptly named ‘Good Vibrations’, marks the second year that the 52-year-old has worked with Fratelli Boffi and it follows on from last year’s ‘F*ck the Classics’ offering.
Laviani says: “When Fratelli Boffi called, they saw I had a heritage about classic furniture. My concept was to make a mix between classic furniture and the interferences of different styles of furniture and shake it up.
“But we didn’t have the time, so we just took a classic cabinet and made this distortion, like when you rewind an old videocassette and you have lines like that. I wanted to have the same 3-D effect on the furniture.”
‘F*ck the Classics’ produced some equally striking creations where very classical furniture styles were given a wacky, contemporary twist.
Take the ‘(W)hole’ chest of drawers, for instance. While its varnish, curves and gilded touches evoke a sumptuous Louis XV style, the fuchsia-lacquered hole that has been bored into the right side most definitely does not.
The same goes for a coffee table in which a circular excavation has been decorated with a shade of funky green.
Laviani has also worked his wooden furniture magic for Emmemobili.
The ‘Twaya’ table very much has a sculptural quality to its sandblasted, solid oak form that imitates the natural draping of a tablecloth. It can be made as a rectangular, square or round dining table, or as a console to be fixed to the wall.
And the Evolution dresser again features a juxtaposition of the classical and the contemporary with an intricately carved left side giving way to a linear, Mondrian-esque combination of minimalist lines and squares in the centre and on the right.