"FRANKENCHAIR" REPORT: LIBERATING, SEXY, AND TENUOUS
"FRANKENCHAIR" REPORT: LIBERATING, SEXY, AND TENUOUS
CHAIRS THAT ARE MORE THAN THE SUM OF THEIR (DISPARATE) PARTS
TODAY:
→ THE PHILOSOPHY OF “FRANKENCHAIR”; THE SUCCESS OF OLD EGYPTIAN MEN
→ WHY THE RICH SHOULD NOT READ THIS ISSUE OF FOR SCALE AND BE INSPIRED
→ THREE CATEGORIES OF FRANKENCHAIR AND EXAMPLES OF VERY GOOD FRANKENWORK
Dear Snoops,
With the way things are going (décorsphere; globally), there is not shortage of reasons why the cobbled-together chair, A.K.A. “FRANKENCHAIR” is currently catching our attention:
A balance is needed for frictionless, hyper-polished, and “resolved” ‘design’ embodied most clearly in tech hardware and USM Haller stuff, both totally taking over
FRANKENCHAIRS are celebrations of resourcefulness, which, as the world disintegrates, will be a very important skill
Per most of our Issues, the FRANKENCHAIR is an exercise in “re-seeing”, as we shall see especially in the work of TRUE FRANKENCHAIR (as we shall see appears in Cairo, straight out of RISD, and in Newcastle upon Tyne)
The ONLY interesting thing about Art*ficial Intell*gence is when it produces absurd, incomplete, impossible images. This energy is present in FRAKENCHAIR.
In addition to this, it contributes to décor a sense of UNSETTLING. It unsettles this exhausting drive toward the made-up finish line of “DECORATED”, and likewise unsettles the prized notion of mass production and puts into your own hands an ability to f*ck with capitalism.
That said, we WILL present some very “FRANKENCHAIR”-spirited mass production stuff.
DEFINITION:
FRANKENCHAIR /ˈfræŋkənˌtʃɛər/ (NOUN)
A FRANKENCHAIR is characterized by its construction from disparate chairs or incorporation of non-chair elements to form a singular “CHAIR” with a distinctive and unconventional composition that is ABSOLUTELY better than the sum of its parts.
EXAMPLES AND PRESENCE IN DÉCOR
Examples are plentiful and exceptional, thankfully, with FRAKENCHAIR a notion that first struck us as incredibly crucial at an exhibition in Dubai (a lifetime ago; Dubai once had the seed of a very intrigued “DES*GN WEEK”).
That display incorporated several chairs from those street cafés of Cairo where men above 50 do the tea-and-backgammon thing, which had been repaired with amateur flair, resulting in what any New York gallery might refer to as “Accidental Sculpture”. The sort no ‘designer’ could really pull off, without it seeming extremely self-conscious and desperate. (Yet, as we shall see – some DO somehow manage! DÉCOR MIRACLE.)
Anyway, such chairs were also the subject of a 2015 book with kind of a tacky title, so it’s only going to be in parentheses (“SIDEWALK SALON CAIRO: 1001 STREET CHAIRS OF CAIRO”, ISBN 978-9491677472), from which we pull this image:
YET, AS MENTIONED several breakthrough minds have been able to sidestep the easy trap of ‘social commentary’ and recreate the essence of those FRANKENCHAIRS found in the wild.
Last year, for example, one of L.A.’s only-galleries-that-matter-to-us (MARTA) popped up in New York with “MAKE—DO”, a very fun room full of what they referred to as “ad hoc” chairs. Some were found by MARTA, some were made by designers MARTA asked to, like, f*ck around with the idea of “CHAIR”:
The vibe was MANIA, which is a décor approach highly prized by FOR SCALE. And that relates very clearly to…
THE PHILOSOPHY AND DÉCOR VALUE OF THE “FRANKEN-” AND “COBBLED-TOGETHER”
What does the FRANKENCHAIR contribute to décor? (It is important to always interrogate this - so rarely does an Elle Deco as “WHY”!) And, for an answer we must turn to FRANKEN-author MARY SHELLEY, who created in her monster-character a reminder to us that what appears as “GNARLY” might instead carry with it the most compelling personal narrative – something that represents seeking, sensitivity, resilience. FRANKENSTEIN’s MONSTER, ironically, is the most very human thing in that f*cking book. The FRANKENCHAIR is (USUALLY) the most human chair in a field of chairs.
From the point of view of DÉCOR COMPOSITION:
The FRANKENCHAIR keeps in check a décor that might otherwise feel just a little too sure of itself, providing an energy that is simialar to, but slightly more heightened than, DO-IT-YOURS*LF. FRANKENCH. and D.I.Y. can help us to delight in “mistake”, as (frankly) so many des*gners often do in their expirements. And, in fact, for the pretentious intellectuals among us, you might also consider FRANKENCHAIR as sort of (ACCIDENTAL) PROTOTYPE – but, if you say that out loud you have to wash your mouth out with soap.
THE GREATEST CHARM OF THE FRANKENCHAIR: The purest, truest FRANKENCHAIR is spontaneous and ergo not a blanket “response” to a “design problem” (which is the ultimate limitation of manufactured décor). Instead, it is more. Its ONE-OFFness reflects some very thrilling and highly energized aspects of THE HUMAN EXPERIENCE, which are:
THIS ONE IS IMPORTANT → Reaction to conditions, rather than expectations of them (the FRANKENCHAIR could only have come into existence within the precise moment it is needed, or with the materials immediately present. It isn’t imagined into existence, it is many ways “DISCOVERED”)
Forced resourcefulness
Being fine with very visible “imperfections”
One might think: “how simple, how fun!” Cobble something together, and relieve yourself of the hegemony of PERFECTION, engage with a deeper level of décor meaning, and also know that you have a “UNIQUE DESIGN PIECE”.
Yet, huge huge ENORMOUS risks are associated with FRANKENCHAIR. Because it is “reaction to conditions”, to too-consciously decide to PERFORM Frankenchair can easily strip it of its magic.
This happens most often to VERY RICH PEOPLE.
***CAUTIONARY NOTE: PLEASE STOP READING HERE IF YOU ARE “TOO RICH” AND ALREADY OWN A FRANKEN-OBJECT OF SOME KIND***
We do not subscribe to the hierarchy of taste, AND YET we have opinions. And just about the only décor style we have no time for is “DESIGN SHOWROOM”.
Common amongst “design aficionados” and too-rich celebrities with over-eager interior decorators, “DESIGN SHOWROOM” is very identifiable for its Many Ideas: there are a ton of things, they are all screaming for your attention (competing for “LEAD ACTOR” status), most feel ‘conceptual’. Everthing is a “THING”, everything is trying so f*cking hard to be “INTERESTING”, and it’s f*cking suffocating.
*This differs from “GALLERY” as an aesthetic, which is more Silent and Airy, though they overlap in that both are vapid and pretentious.
The FRANKENCHAIR is prized in the context of “DESIGN SHOWROOM” because it is the melding of objects, and ergo used as a means to stuff MAXIMUM visual discordance, shouty-"UNIQUE”-ity, and “I CAN AFFORD ONE OFF SH*T” into every cubic inch.
So, where we will now praise FRANKENCHAIR, we must ask that if you are very rich and already have a FRANKEN-object of some sort, please STOP READING.
(WE HAVE AN EXAMPLE WE ARE ABSOLUTELY DYING TO SHARE, BUT IT FEELS TOO AGGRESSIVE TO SAY SOMEONE’S WHOLE DÉCOR IS SH*T.)
FRANKENCHAIR: THREE CATEGORIES
There are three categories of FRANKENCHAIR, all of which are delights of their own accord. We present them here in DECREASING “FRANKEN” QUALITY, and ergo, decreasing contribution to compelling décor – where CATEGORY 1 FRANKENCHAIR is highly desirable, a CATEGORY 3 FRANKENCHAIR is more ‘consolation’. Yet, as they decrease in FRANKEN QUALITY they increase in ease-of-achieving.
Here:
CATEGORY 1 FRANKENCHAIR → FULL “FRANKEN”
A full FRANKECHAIR is, of course, most accurately and appropriately a byproduct of an immediate need and ergo is “DO-IT-YOURS*LF-FOR-YOURS*LF”, as per the talented Egyptians previously mentioned.
Yet, this is an intimidating prospect – because to D.I.Y. is also to Confront Yourself. So, as per, we lean into others.
And, excluding the truest and purest FRANKENCHAIR which is really executed by the non-designer, there are thankfully some people with Instagr*m accounts that also dedicatedly work to create FRANKENWORK:
Example 1: JOE FRANC
We are absolutely confused as to why this man isn’t enormously sought-after. His FRANKENCHAIRs do the near-impossible, which is that they truly strike the balance between HAPPENSTANCE and "OBJET” (pardon the French; used here so that you get that it’s ‘fancy’).
His work includes:
Marvelous material origins; unavoidably one-off; makes us feel: “Why doesn’t IKEA have a manual of how to make chairs out of your old Billy or something”; etc.
And, re: No.1 STOOL OF FOUND PINE, we have this to say: it’s like the “STREETWEAR” version of stools by HANS SEVERIN JACOBSEN of Denmark. So, take your pick, re: décor energy.
Example 2: CAMERON LASSON
Again, VERY INTELLIGENT, very TIGHTROPE WALKING frankendécor from this guy from R.I.S.D.
About himself he writes F*CKING DÉCOR MUSIC-TO-OUR-EARS:
“I want to live in a spaceship that’s furnished like a log cabin.
I see furniture as the inanimate species that accompanies us in our daily lives.”
His stuff:
OK! But a special mention to this, as well, because BICYCLE PARTS are involved (because the bicycle inspired THE WASSILY and THE MARALUNGA if you know those) - FOUND LAWN CHAIRS, BIKE HANDLEBARS, WOOL BLANKET, OFFICE CHAIR BASE.
ASIDE: Many DES*GNERS produce FRANKENCHAIRS and FRANKENFURNTIURE for themselves. We shall be posting a key example on OUR INSTAGRAM later today. Today is Monday.
ONWARD…
CATEGORY 2 FRANKENCHAIR → FRANKENSPIRED HAND MADE
We must first make a special mention of DOUG McCOLLOUGH, formerly of L.A. DOOR, whom we ADORE and shared recently on INSTAGR*M this FRANKENSPIRED SIDE TABLE:
On the left, a side table made from “OLD DRAWERS FROM AN OLD HOUSE”, and on the right, DOUG McC’s more replicable, studio-made version. Maintains the spirit of the original, but you don’t need old drawers. And, frankly, you could probably seat a child on this (WEIGHT CONSIDERATIONS), so we’re ok with having it in a FRANKENCHAIR REPORT.
In any case, we were pleased to see the origin-to-idea exposed.
And though others may not be so DIRECTLY 1:1 about FRANKENRECREATION, for the purposes of our every day décor, we might consider these as examples of “WELL, FRANKLY, IT FEELS FRANKEN”:
The first two are by LONDON people, sold as part of the ATELIER100 project, so they are not one-offs but they are not, like, HEM-level production levels.
L: THE MUDLARK CHAIR, by a trio of youths (Mat Barnes, Walid Bhatt, Malltwen Freeman)
→ Each made from London plane (*what the palm is to L.A., the Plane is to L.D.N.), and then some scaffold, and then some 3D PRINTED ROCKS based on rocks from the Thames. This *IS EXTERMELY FRANKENCHAIR* plus in some ways kind of Beyond as it is also Digtal-Era-esque.
M(iddle): STAINLESS STEEL TUBULAR CHAIR, by Andu Masebo
→ The tubes are NOT like, some reworked Bauhaus thing. They are the kind you’d use (well, not YOU! but someone would use…) for car exhaust pipes. SADLY OUT OF STOCK, but maybe you can harass him to make more. Everyone we know who has this chair is f*cking GRATEFUL to own it.
R: STOOLS by L.A.’s own ALEXANDER KAYE
→ We love a cinder block, SO SUE US! They are really breaking through in the 2020s, we suspect because if one can’t own a home there is someting interesting in at least owning building materials?
CATEGORY 3 FRANKENCHAIR: MAJOR BRAND PSEUDO-FRANKEN (THE CASE OF *HEM*)
We fully respect that FRANKEN might push you – you might find the IDEA compelling, but the execution might give you anxiety. Few of us exist on the same wavelength as FRAKENCHAIR.
Yet, in the décor major leagues, there are those who have managed to absorb and then pump out some small degree of the FRANKENCHAIR energy (ranging from between 20-40%, let’s say?) and that is truly enough for most. We shall make an example of *HEM*. (We are fans!)
TOP: “SURFACED” BY SHO OTA; BOTTOM: “PUFFY” BY FAYE TOOGOOD. The former a kind of Enzo-Mari-AUTOPROGETTAZIONE-style tinderstick stool. The latter, a kind of duvet-draped-on-some-otherwise-uncomfortable-chair vibe.
Both contain the crucial appeal of “DIFFERENT PARTS”, where it doesn’t necessarily seem as if those parts were born to be together, but in fact, they suit one another.
THE LESSON
As per, we are utterly compelled by the anti-capitalist, yet are totally seduced in equal measure by Very Good New Things From Notable Stores. FRANKENCHAIR really, truly exists in the former category. Yet, when even the PSEUDO-FRANKEN CAN DO is help us to “UNSETTLE” the toxic veil of “The Complete” (a.k.a. PERMANENCE! which is both ‘EW!’ and impossible).
FRANKENCHAIR suggests, instead, the possibility of a metamorphosis, reincarnation, and of continuous change. It is made of parts that are not its own, or is it made from parts that never fully belonged to the thing they were? (OTA and TOOGOOD seem to play with this idea and squeeze it into mass prod.)
IPSO F*CKING FACTO, we suggest there is NO DÉCOR MORE “TIMELESS DESIGN” than that which was something else and will likely be something else again after the current thing that it is.
And, if you can’t find a thing like that, then you can make believe with Hem, et al.
Until next time. LOVE AND GOOD LUCK.
Hey, just a darn minute here...
Middle/Young Millennial "Design" - Cleverness Above All Else!
When FrankenChairing moves from internal studio practice to commodity/product - that's where the issue arises.
A clever idea, recognized in an object (via democratic, DIY process) often finds it's impact through the circulation of it as an image.
The image contains the idea as much as the object does.
Which is great - for an attention economy.
Unless the "designer" has a revenue model connected to the circulation of their images, they are going to find economic hardship trying to sell those images as objects.
ie: Ratchet Strap furniture - the lowest level of FrankenChairing - Freshman design student energy.