As with many words, CHIARO has several definitions: clear, bright, and straightforward.
Chairs by nature are straightforward — the proportions of a seat and back suggest a place to sit, and regardless of their formal language, most of the time we know what to do with them. Beyond physical function, furniture has a powerful ability to transform atmosphere. It is fascinating that despite technological progress, our fundamental need for chairs seems to endure, while the appearance of many chairs does not. A number of mysterious variables decide which designs find long term success. Judging from history, one might guess that in order to last a chair must be culturally poignant, technologically or ergonomically innovative, or able to solve a particular need effectively. Sophisticated manufacturing technology and handcraft give Mattiazzi the rare ability to shape wood in almost any form. Although I was extremely tempted to explore those boundaries, CHIARO is not a radical chair. This design flirts with notions of an archetype to create what seems to be an ordinary design that is both visually and physically comfortable in many different environments.
Born in New York in 1979, Leon Ransmeier graduated from the Rhode Island School of Design. In 2005 he established Ransmeier inc., a New York based industrial design practice. Notable projects include the Agl Table Group for Herman Miller in 2012, the Revolver Bar Stool for Hay in 2011, and the Folia Desk for Wright 21 in 2010. Ransmeier’s collaboration with industry often results in subtle interventions into the way we perceive and use things.
His designs have been exhibited at the San Francisco Museum of Modern Art, as well as in the 2010 and 2006 Design Triennials at the cooper — Hewitt National Design Museum in New York. Ransmeier’s work has been published internationally and is included in the permanent collections at SFMoMA and the Corning Museum of Glass.