Me, judgmental? Only for a good cause…
On behalf of Design Milk – and humbly at the behest of our friends at Design Within Reach (DWR), purveyors of authentic modern design – I accepted an invitation and the awesome responsibility to judge the finalists competing in their Champagne Chair Contest, held in partnership with Pommery, now in its 21st iteration. This year’s proceeds will benefit Docomomo, a non-profit organization dedicated to the documentation and conservation of the modern movement’s vulnerable buildings, sites, and neighborhoods. It’s perfect timing given the existential threats this genre of design now faces.
So just a few weeks ago, I traversed the Lower East Side of Manhattan, stumbled down narrow stairs in an unassuming restaurant, then sauntered into an intimate banquet room covered in tone-on-tone red velvet. With great pleasure I sat alongside two architects and designers from the Docomomo community, as well as miniature model maker Aspen VanHooser, who submitted winning designs two consecutive years prior. I’m happy to report an unexpected turn of events along my redemption arc, which originated days after the 20th anniversary edition where I dreamt an imaginary rivalry with the prolific VanHooser. We’re now creative co-conspirators sharing our favorite artist gadgetry and trauma dumping memories from studio life.
Trolleys were nestled into two opposite corners and staged with chair designs that ranged from the literal to conceptual, loose interpretations of seating. As in the past, submissions were judged according to one of three categories: most original, best likeness to an iconic piece, and Pommery prize for those who used the supplies provided. Each maker worked their materials to fit within a 4″ x 4″ x 4″ volume once assembled.
But it was no simple task. Each participant’s idea appeared to be realized through an alchemic process that transformed caps, wrappers, corks, and labels into clearly articulated chair designs. And each concept was a testament to craft and the resilience required to survive studio art of that nature. Entries boasted personalities as diverse as the personalities behind them. After much deliberation and a few passionate pitches, we had our winners.
Best Craftsmanship: “Brut Royal Daybed” by Rob Metzgar
Best Craftsmanship: Rob Metzgar’s “Brut Royal Daybed” was a personal favorite of mine as this typology operates in some liminal space between seated and sleeping. Its design boasts an elegant silhouette, an extreme level of craft in its caning, and a clear intention behind how or where colors are employed. The delightful cap and cork throw pillows atop two-tone upholstery pushed my vote for ‘best craftsmanship’ far over the edge.
Most Original: “Infinity Lounge Chair” by Monte A.
Most Original: The “Infinity Lounge Chair” by Monte A. is deceptively simple, but the astute judges took notice of this ‘most original’ design quickly. Its backrest to seat proportion is as finely tuned as the texture and granular scales of cork comprising each section. What’s more, the cage has been masterfully manipulated into legs and an actual structure for the chair without showing any signs of stress or kinks from bending.
Best Likeness: “La Chaise,” inspired by the Eames La Chaise, by Ann T. Dinh
Best Likeness: Inspired by the original Eames design, Ann Dinh recreated “La Chaise” – and likely whatever mold or amalgam went into producing it. The curvaceous shape is near perfect, the finish is super slick, and the legs are crisp in contrast to the organic nature of the other elements. It’s shiny topcoat catches and tracks light beautifully across its surface.
For more information about the DWR Champagne Chair Contest, visit dwr.com.
Our very own Managing Editor, Joseph Sgambati III, previously participated in the competition – check out his entry here!
Photography courtesy of Design Within Reach.
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