Joris Laarman Lab at Friedman Benda


A solo exhibition of work by Dutch designer Joris Laarman opens at Friedman Benda gallery in New York on Thursday.

Called Joris Laarman Lab, the exhibition presents new pieces including Bone Rocker, a rocking version of his Bone Armchair (top) and Bridge Table (above).

Above: Leaf Table, 2010, Resin, Steel and Aluminum

More Dezeen stories about Joris Laarman:

WirePod for Artecnica (April 2008)
Bone Armchair (March 2008)
Heatwave radiator for Jaga (May 2007)
Bone Chair (December 2006)

Above: Asimov. Photo courtesy Joris Laarman Lab and Friedman Benda, New York

Here's some info from Friedman Benda:

JORIS LAARMAN UNVEILS NEW WORK AT FRIEDMAN BENDA - First U.S. Solo Exhibition Opens March 4, 2010

NEW YORK - On March 4th, a new body of work by Dutch designer Joris Laarman will be unveiled at Friedman Benda. Laarman’s unique aesthetic merges cutting-edge technology and the life-sciences to create work of unexpected beauty.

Above: Cumulus Table, 2010, marble

Above: Bone Rocker

In 2008, Laarman’s Bone Chair and Bone Chaise, his first two works since graduating from Eindhoven, were displayed in MoMA’s exhibition Design and the Elastic Mind.

\Above: Bone Armchair and Bone Rocker

This marked a major milestone in his career and the chair subsequently was added to the museum’s permanent collection. The show will be on view from March 4 through April 10, at Friedman Benda, 515 West 26th Street.

Above: Bridge Table (small), 2010, Aluminum and Tungsten Carbide

In 2006, Laarman’s Bone Chair revolutionized the design process by using an algorithm to translate the complexity, proportion and functionality of human bone and tree growth into a chair form. The algorithm, originally used by the German car industry, enabled him to reduce and strengthen his designs by optimizing material allocation, weight and stability, while minimizing material input. In his own words, he sculpted “using mother nature’s underlying codes.”

Above: Half Life, 2010, glass vitrines, lamp base.

The upcoming exhibition is the culmination of five years of trial and error, exploratory material research and his continuous quest to translate science into functional objects of beauty, now on a monumental scale.

Below: In Case of a Thousand Books, 2010 (rendering), steel, poly concrete and glass

His new body of work expands on his core investigations; it includes Skyline Storage, Fractal Bookshelf, Stair Cabinet, Leaf Table and Half Life Lamp, a sustainable lamp made from living cells.

Above: Bone Armchair, 2006

About Joris Laarman

Joris Laarman was born in the Netherlands in 1979, and graduated cum laude from the Design Academy Eindhoven in 2003. While still in school he created the “heatwave radiator,” a design widely-lauded and incorporated into museum collections such as the Cooper-Hewitt and Fond national d’art contemporain, Puteaux, France, and has been produced by Droog.

Above: Bone Chair, 2006, aluminium

In 2004, he received Wallpaper’s “Young Designer of the Year” award, and in the same year established his studio and laboratory. He has since received the Red Dot design award (2006), the Woon award (2007), and the international Elle deco award (2008). He has collaborated with Flos, Vitra, Swarovskki, and Droog.

Below: Bone Chaise, 2006, polyurethane-based resin

Posted on Tuesday March 2nd 2010 at 11:19 am by . Copyright policy | Comments policy

  • betuwill

    put the objects on a diet please!!

  • jansson

    zaha hadid!

  • Cr

    @betuwill You agree that, apart from the absolutely briljant bone-chair, all the objects are slightly too fat ?!

  • mastafa

    i wear different shoes too.
    (i am also a bit pretentious)
    i do like the look of your cloud table tho

  • di

    nice marble table. its the only thing that is nice here .

  • b

    most good design movements start with rebelling against decadence and a sort of elite approach to design. and they end when they have become part of that decadent and elite world themselves.

  • somedude

    5x more material required to build an “optimized” chair?

  • modular

    More is…. more.

    I dislike this work. Sorry Joris.

  • dsgnr

    looks like we’ve got a new Ross Lovegrove: shinny organic shapes and no ideas.

  • eye +

    gaudi furniture

  • AJ

    I am usually loath to compare one designer’s work directly with that of another, but a lot of what I see here is just a soapy imitation of Zaha Hadid!

  • ness

    i want all products!!!

  • dextra

    un-elegant. too thick and copied from various other colleagues (zaha etc.)

  • E.T.

    Where did the spaceship land? :-)

  • ncie design but expensinve to produce i guess

  • san

    @ b: you really hit the nail!!! totally agree

  • jan hoover

    His best piece, the bone chaise is actually missing, I wonder why they didn’t make that one part of this exhibition?

  • dagmar

    I think this work is much better done than most organic design around. Give the guy some credit after pioneering with the bonechair and milking it a bit. I think he’s doing some really inetresting stuff now.

  • MFD

    Hey Joris,

    Love the staircase bookcase! As soon as I have collected my first million I will buy one, because then I will also need to buy a new, two floor high livingroom…nice!

  • MFD

    Hey Hoover Jan< learn about your favorites dude….

  • Bozo

    Nothing like Zaha. And since when did she have the patent on organic shapes. All rectangular designs are copies of Mies. Back in your shells, go and finish your door schedules.

  • cv

    jan hoover how dense can you be? the title of the clip you linked credits the piece to someone else. its not this guy.

  • archive

    some modern art-nouveau! interesting expression

  • Alex

    I hadn’t noticed before, but the organic, intricate pattern of the Bone series looks like the 3D armchairs from Freedom of Creation.

  • Kenneth Smythe

    This designers approach to design is as one reinventing the wheel and not creating new and wonderful ways to use the wheel.

    His bone chairs have a heavy and congested look. If they were hearts they would be suffering from congestive heart failure.

    This designer does not understand the meaning of the word organic. His designs have a look that is at best superficially organic. There is no elemental organic vocabulary from which to build a vast array of theme and variation designs as there is in botany, zoology and my chair,table and light designs.

    My chair, table and light designs are a visual passacaglia in the manner of J. S. Bach's Goldberg variations as performed by Glenn Gould.

  • Yaheba

    When your algorithms are embedded in an ideology that is unstable and unsustainable and believes that greater complexity, thru technology, will provide answers to are grave and intractable problems you are contributing to the eventual catabolic collapse of our civilization.

    Increased complexity always requires greater energy inputs to sustain it and if that energy can't be provided the increased complexity will fail.

    Learn to understand the elemental and evolutionary nature of the term organic before you so willing embrace technology, mathematics and science.

    If De Zeen doesn't see fit to post all of my well thought out comments then don't post any of them.

    I did not appreciate your deleting my thoughtful comments, on my early post, under the name Kenneth Smythe.

  • Red

    To take the exemples of the chair, they've been done using software at the base, that define by mathematic algorythm where the material needs to be put according to a weight constraint. Maybe it doesn't look organic to you because there are no leaves and doesn't look like a fckin tree, but the structure of the chairs has developped by itself as a natural bone would.