3 Models to choose:
– Wooden caser: 12 stools / 20 stools
– Black wooden case lined paper: 20 stools
Our spine is the schematic representation of a tree trunk. Its function is that of sustaining and supporting, but its ultimate reason for being is to hold up its branches, which in turn carry leaves, blossoms and fruit.
Through painstaking contemplation, medieval thinkers tried to discover the laws governing the position of each leaf on a tree. It was the leaves, in their effort to attain the greatest possible exposure to sunlight, that encouraged the trunk to grow higher and the branches to reach further out. Ultimately, the disposition of its parts was determined by the tree’s overall need for balance, resulting in absolutely unique organisms. No two trees are alike.
The game of LOS TABURETES (The Stools) is subject to the same kinds of laws that determine the forms of trees. They have to be piled up in order to form the shaft of the trunk, a solid spine. The tree top should spread out as much as it can, reaching upward but not losing its balance. The result is always different, yet always harmonious. In playing this game we play to become a tree, we think like a tree, we grow like a tree – we use the instinct and natural intelligence of human beings without behaving like them. And somehow we are still different from this plant life, and we are able to enjoy the results in very different ways. Perhaps part of it lies in having reverted, if only for a moment, to being primitive creatures again.
Author: Javier Bermejo. Made by: PICO PAO
Size of each stool:
Ø40 x 60 mm
Stool: Beech and MDF in different colors.
Case: Wooden case lined paper
Imagine what you can do with all these stools on your hands
The cube, an orthogonal parallelepipedic prism of six equal sides, is inextricably linked, from the time of the very first civilizations, to open, inhabitable spaces. For such a simple, sparse and symmetrical shape to achieve any sort of expressiveness there must be some irregularity involved or some relationship with its surroundings.
Is it an inanimate object or is there something in it that gives it life? Could it be that he reminds us of the messenger boy, the newspaper vendor, the shoeshine or the apprentice of any number of jobs – one who depends on his arms and legs to carry out these menial jobs in order to scrape by? Where does our sympathy for an object come from? Where do our emotions spring from -weak and subtle as they may be – where if not from the emotions of life itself and the spirit that animates it?
The tightrope walker balances over the precipice, risking life and limb as he walks over the thinnest of threads. They are not actors; rather, they relive what is essentially their life away from the wire. We are all tightrope walkers, though some more than others. Whether we are aware of it or not, we are all balanced on the edge. That is what they are trying to tell us.
Objects that we are drawn to – personal adornments, ornaments in general, a feathered embroidery, a necklace, a capital, an eave… - are more often than not imitations of models found in nature: a flower’s petals, a plant’s leaves, a bird’s plumage…We’re struck not only by the beautiful colors of these objects but also by the arrangement of their different elements. When we take objects that are seemingly identical and try to create something new with them we have no choice but to subject ourselves to the laws of physics, letting them guide us in our effort to create something that will mirror the beauty and harmony that exist in nature.