Welcome to the 228th insertion of DEMUR®, an analytical series highlighting the intricacies of the artistic world and the minutiae lying within. In this episode, we take a seat, discovering the practice of built-in design and its subtle placement in the everyday world.
Built-in furniture is a relatively obscure subset of traditional design. Challenging architects to blend everyday items like chairs and tables into a structure's interior and façade elements, they behave in highly unique ways. Invoking a sense of satisfaction in users with an amorphous appearance, this genre embraces a sense of indistinction, allowing itself to be found within a boundless space.
Perhaps one of the most engaging qualities of built-in pieces is the designer’s forethought and attention toward each space’s atmosphere. Looking at London-based creative Hugo Passos's untitled work in slide 2, we can visualize the importance of flexibility and purpose with regard to a room’s surrounding limitations. In his instance, as opposed to simply shifting the table to accommodate a chair, he saws the leg, forever binding the seat to the step of his choice.
This inordinate perspective forces external attributes of a room to become one with the foundation they typically sit atop. Mending a detached relationship, built-in fixtures invite users to appreciate the removable aspects of a chamber and the skeleton that confines them. Be it nature that encases Studio Nucleo’s ‘Terra Armchair’ (slide 3) or the wood bleeding from Stockholm’s ‘Woodland Cemetery’ walls in slide 5, the practice encourages artists and interactors to seek the unseen and rework the overlooked.
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