Mattiazzi’s journey over the past ten years includes some
startling contributions to the vernacular of chair design.
Konstantin Grcic’s Primo is a study in reductive formalism;
Leon Ransmeier’s Chiaro displays a fluidity conceived from
economic constraints; and Ronan and Erwan Bouroullec’s
Quindici presents a graphical expression of a resting
lounger’s promised repose. These, along with many
notable others, are born from the designers’ minds,
fortified by the heart and soul of Mattiazzi’s production.
Early design collaborations introduced furniture
that championed Mattiazzi’s commitment to new
technology. Their unique, inter-generational ability
to master 3D scanning with robotic milling has evolved to
become a fine example of a new kind of industrialised
wood production. With time, one could imagine that this
manufacturing knowledge might become simplified
once the technical rules of what can (and can’t) be made
become more visible to the designers tasked with
producing new works. But instead what transpires belies
the story that technology alone can tell – so that in truth,
only the merging of chance and risk has created the right
atmosphere for continuous experimentation.
10 Years Mattiazzi
