The genesis of the project.

In 2012 I was approached to look into the question of removable supports for stylist. As usual I did a quick overview of what was happening on the market. This research at the beginning of the project is not intended to inspire me but rather to tell me what I should avoid doing. I am often asked what are my inspirations to create. This question always annoys me because for me the creative challenge lies in obtaining the purest originality possible. In my opinion, the search for images of similar projects tends towards a result of “patchwork” of ideas rather than novelty. I prefer to leave the material to work and the function to fill. Although the function of the whole object or its components is easy to determine, that of the material requires several researches to know its properties and applicable manufacturing techniques. In fact, the ideal is to get your hands dirty and see for yourself the limits of a material.

The personalities of shapes.

Apart from the more technical elements, I create myself somehow a personality that I want to attribute to the object. I develop some qualifiers that guide my decisions. In this case, I sought refinement, delicacy and femininity. The physical translation of its characteristics is reflected in my mind by the work in curves and the use of fine linear elements. I noticed for the first time this personality forms by working on typography. Although each letter must have a minimum of elements to be recognizable, it is really its variations of geometry that gives it its character. A curvaceous typography instantly releases a nice side. A kind of nonchalance compared to straight and rigid forms that affirm their presence without hesitation. The use of bold typography for those who want to be noticed and write in capital if it does not work enough. It’s features I tents to use them in tri-dimensions. On this project I wanted to focus on mechanical elements and connectors. I then designed a two-piece assembly that can offer mobility to the legs and support the snap bar. This bar would serve as a key to block the legs at the required angle. I started its development in 2 dimensions. By approximating the mass of material needed to form a solid piece, I modeled everything while keeping in mind my qualifiers. The resultant

To create a “selection zone” at the end, I thought of a simple magnetic stopper bearing the logo of the collection. This logo comes from elsewhere the next mechanical component created. By developing a mobile base for the structure, I needed a hinge X to close the structure but especially to open it with a precise angle. This piece, which I call the butterfly hinge, made me realize the potential of the established language. It is also this new piece that will allow me to design the table that follows at the bottom.

The BARE table

The continuity

Materials and prototyping

Let’s talk a little about materials. From the beginning I knew that I wanted to work with aluminum. Of course for its lightness but also for its tactile and plastic qualities. I tried in the past to use the anodizing finish before learning the hard way that no welding is possible with this type of finish. I had to think about assembled and mechanically fixed parts. Fortunately, CNC machining or computer-assisted sculpting techniques can now recreate anything that can be modeled in 3D from solid aluminum blocks. Before resorting to the CNC machining that is excessively expensive, I had to try to create the wooden parts. To my surprise the result was very promising. In fact by using a hard wood like cherry, I had the rigidity necessary for a good functioning. To such an extent that I was able to create some completely functional pieces. I knew that aluminum would bring me the ultimate precision for a long time.

The BARE table

The BARE stylist stand is like a trestle of a very large size. So much so that it is simply enough to shorten the legs and the snap bar. Of course 2 trestles are often used as table support although very bulky as a solution. I wanted to see how to use and adapt the developed components to create the optimal table. It had to be fold able to be able to favor the transport and to offer a flexibility of accessories. The result with the use of glass as a surface is in a way a tribute to its components. It is at the same time a technical object which does not hide its functioning but on the contrary put in scene its hardware store. The possible variations are multiple. From the small coffee table with a round pane to the large meeting table. The tables visible on the images illustrate a simple example of an accessory. One can easily imagine future possibilities.

The BARE director chair

In search of the limits

The start of a collection

Although the table was a logical continuation, I had to try to tackle a more ambitious object. I wanted a complex folding object with different loads to support and a complement of materials. Having always had a soft spot for the director’s chair, I tried to design an ultimate version. I had to adapt our simple hinges into more complex elements. Having connections of all directions and very precise bending radius. Thus was created the Director Bare chair. All is variants and products come from a precise attention to a mechanical detail. Who knows what other object the future holds for the Bare collection.

A collection destined to grow.

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