Geckeler Michels
High-tech design and high-quality workmanship, perfect marble, fine woods and legendary Portuguese corks form the essence of the Swiss premiere on the eve of Art Basel / Design Miami 2018. The Mise-En-Scène of the 40 square meter Zürich salon is arranged with works such as Alpinina by Jasper Morrison; Hipódromo, Eclipse 02 and Secção by Miguel Vieira Baptista; Large Vessel and Tall Vessel by Michael Anastassiades; Cork Kit by Amanda Levete; Cork Bench by Naoto Fukasawa; Bísaro, Pata Negra and Vase with Roots by Fernando Brízio and many more … A treat for true collectors and design lovers. The Oyster by Geckeler Michels was presented at the BNW Salon in Zürich.
OYSTER
Oyster is a stool and occasional side table made of solid ash. The tripod design reveals a graphic quality and is rich in wood working details. The eccentrically designed stool gets a clear direction through its off-cut in its circular seat and the remarkable T-shaped leg construction making it a versatile stool for your everyday life.
- Type Bench
- Date 2017
- Dimensions 360 x 360 x 450 mm
- Weight 6 kg
- Material Solid Ash Wood
- Edition Standard
This exhibition presents pieces that were mainly created through projects commissioned by experimentadesign: pieces integrating the latest “First Stone” programme (2016 – 2017), the “Metamorphosis” project presented at the EXD’13 Biennale or even the project “Efeito D” for the EXD’09 Biennale. The exhibition integrates also pieces of independent projects created by designers constituting the pool of Lisbon Gallery Design & Architecture.
Working with some of the most relevant Portuguese and international protagonists within the field of design and architecture, Lisbon Gallery presents pieces that manifest a strong component of research and innovation. Most of the selected works were produced in Portugal, or turned out as a result of exploring other industries. All the pieces are commercialized in limited series or standard editions.New forms of working with materials were born during the design process of these pieces, creating new logics and representations. The preference over natural and organic materials or with a certain weight and history, projects in itself an identifying characteristic of the Lisbon Gallery: its investment in the area of sustainability.
Having its pieces travelling once more to international territory, the Lisbon Gallery gets a step closer to the international approach it has been claiming, as a way to disseminate its content and to promote the design mostly made in Portugal.
