The collection is very much an exploration of the "body in space" – but on a smaller scale than my architectural work," said Adjaye.
"Knoll has always had an amazing ability to produce furniture that is a distillation of the zeitgeist of the age – it was this relationship between life, space and objects that resonated with my own work. Finding specific conditions, amplifying them and making them aesthetic while giving them the potential to be part of our world is what I am interested in," he added.
The Washington Skin Chair is cast in three parts using injection-moulded nylon, reinforced with glass. The shell and legs are then joined using mortise and tenon joinery and stainless steel fasteners. The legs are reinforced with an aluminium brace that is covered with nylon.
The Washington Skeleton chair is made form die cast aluminium and, like the Skin chair, is cast in three parts and joined using steel fasteners. It comes in various durable painted colours or a copper plated version that allows the chair to tarnish with age.
"We worked very closely with Knoll’s technical team and it was a fascinating learning curve," explained Adjaye.
"Making production furniture is very different to creating objects – and it is not something I had done before," added Adjaye. "The furniture went through many iterations, studies and tests. To make the cantilevered legs, for example, Knoll developed the material technology to allow the back to flex and the T-junction in the legs has a metal insert to resist stress. As a result, the chair's form is minimal, yet can withstand 300lb."
The chairs are on show at the Piazza Bertarelli, Milan. Knoll is also showing new collaborations with London-based designers, Edward Barber & Jay Osgerby, alongside a selection of recently updated pieces by designers, Ludwig Mies van der Rohe, Florence Knoll, Eero Saarinen, Tobia Scarpa and Marcel Breuer.
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