OF365携其品牌家具与您一起打造美好办公环境!Better OF365,Better Life!品牌家族成员:芬兰AVARTE; 美国KI; 意大利ORA; 瑞士USM; 英国NEO; 墨西哥mobelsys; 意大利FARAM; 马来西亚Merryfair; 新西兰Actiforce;德国Interstuhl.....
Alvar Aalto


Assa Ashuach
Andrew Blauvelt
Art and Craft Movement
Achille Castiglion

Alan Fletcher

Abram Games
Alec Issigonis
Arne Jacobsen
Alexander McQueen

Aston Martin

Amit Pitaru
Alison+Peter Smithson
Barber Osgerby
Berthold Lubetkin
Ben Wilson
Christian Dior
Christopher Dresser
Charles+Ray Eames
Craig Johnston
Charlotte Perriand
Chris O'Shea
Cedric Price
Charles Rennie Mackintosh
Cameron Sinclair
Constance Spry
Derek Birdsall
Daniel Brown
Doshi Levien

David Mellor

Dieter Rams
Experimental Jetset
Established and Sons
Ern Goldfinger
Eileen Gray
Enzo Mari
Edward McKnight Kauffer
Eelko Moorer
Ernest Race
Ettore Sottsass
Ed Swan

Flaminio Bertoni

Fernando+Humberto Campana
Future Systems
Finn Magee
Foreign Office Architects
Frank Pick
Frank Lloyd Wright
Georg Baldele
Gio Ponti
Giles Gilbert Scott
Graphic Thought Facility
Hilary Cottam
Hella Jongerius
Hiroko Shiratori
Isambard Kingdom Brunel
Irma Boom
Industrial Facility
Isamu Noguchi
Jonathan Barnbrook
Joe Colombo
Jasper Morrison
Joshua Davis
John Galliano
Jamie Hewlett
James Irvine
Jonathan Ive
James Jarvis
Julia Lohmann
Jean Prouvé
J. Mays
James Paterson
Jock Kinneir + Margaret Calvert
Jerszy Seymour
Jop van Bennekom
Konstantin Grcic
Kerr Noble
Khashayar Naimanan
Luis Barragán
Leopold + Rudolf Blaschka
Luigi Colani
Luis Eslava
Louis Kahn
London Transport
Manolo Blahnik
Maarten Baas
Marcel Breuer
Matthew Carter
Michael Cross + Julie Mathias
Max Lamb
Michael Young
Michael Marriott
Marc Newson
Matthias Megyeri
Mevis en Van Deursen
Maureen Mooren + Daniel van der Velden
Norman Foster
Nadine Jarvis
Onkar Singh Kular
Paul Cocksedge
Penguin Books
Pascal Anson
Peter Marigold
Phyllis Pearsall
Peter Saville
Percy Shaw
Paul Cocksedge
Paul Smith
Philip Treacy
Philip Worthington
Ron Arad
R. Buckminster Fuller
Ronan + Erwan Bouroullec
Robert Brownjohn
Robin + Lucienne Day
Ross Lovegrove
Reginald Mitchell
Rockstar Games
Richard Rogers
Robert Wilson
Richard Sweeney
Solange Azagury - Partridge
Saul Bass
Sebastian Bergne
Sam Buxton
Simon Heijdens
Stefan Sagmeister
Sarah van Gameren
Tim Berners-Lee
Tord Boontje
Tomás Alonso
Tom Dixon
The Guardian
Thomas Heatherwick
The MARS Group
Tim Simpson
Timorous Beasties
Verner Panton
Vivienne Westwood
Wells Coates
Yugo Nakamura
Zaha Hadid
Assa Ashuach
Product + Furniture Designer (1969-)
Design Mart - Design Museum Exhibition
14 January to 19 February 2006

By experimenting with advanced design and production technologies, the Israeli-born, London-based designer Assa Ashuach (1969-) redefines both the form and function of everyday products and furniture, while developing a surreal new design aesthetic.

Looking like the complex curves spiralling across our computer screens, Assa Ashuach’s surreal OMI.mgx lamp is the product of his experiments with selective laser sintering technology. Made from a single piece of nylon, it diffuses light so finely that, from a distance, it seems solid. On closer inspection, the lamp is revealed to be an intricate sequence of nylon ripples cut so precisely that they can be bent and twisted into improbable shapes.

The OMI.mgx could not be made without the use of complex design software and production technologies: nor could Ashuach’s furniture which, like all his work, is defined by the relationship between the visual and the physical. He begins by calculating what is required to fulfil the designated function as comfortably as possible, and deploys stress analysis software to optimise the object’s structural strength using minimal material sculpted into a seductive form. “I try to reduce design to its essential points. You can’t take from it and you can’t add to it. If a few millimetres of surface changed, it would collapse.”

Ashauch’s love of making things stems from his childhood on a kibbutz in Israel, where he was born in 1969. He made bizarre contraptions for his friends from scraps of material given to him by the kibbutz carpenter and car mechanic. After studying industrial design at the Betzalel Academy in Jerusalem, he enrolled at the Royal College of Art in London where he experimented with digital modelling and rapid prototyping. Since graduating in 2003, he has continued those experiments, notably with Materialise in Belgium. “We have to question design again and again,” said Ashuach. “In today’s technological reality, design should be seen as a strategy for questioning and modifying tradition.”

Design Museum

Q. How did you first become aware of and interested in design

A. I was born and grew up in a kibbutz in Israel on the Mediterranean coast. Growing up in a kibbutz in the early 1970s was the best environment for a child to create and play with the exciting old machinery and exotic scraps. Visiting the carpenter, metal workers, car mechanics and the shoemaker, I would always end up with great collections of bits and pieces. I used to ask my friends to tell me their greatest material fantasies, so I could have the pleasure of cracking and inventing another impossible thing.

Q. What influence has your design education had on your development as a designer? And why did you decide to study in Britain

A. I believe that studying industrial or product design is very important for a potential designer. Like a musician or a dancer, you have to invest time in being in the right environment with the right people. Coming to study at the Royal College of Art in London was very natural thing for me. After my BA in industrial design at the Bezalel Academy of Art & Design in Jerusalem, I felt ready to get deeper into more personal design disciplines. I believe that London is a very good example of how a multi-cultural society can contribute to a city’s success. I joined London a bit like joining a political movement, and the RCA was the best social and technical laboratory for me.

Q. What are your objectives as a designer? And how are they evolving

A. I believe that a designed object is created to fulfil a need. In my work, I try to reduce the design to its most essential parts. The two important elements for me are perception and use. The final form of an object can be broken down to two main disciplines: the visual and the physical structure. Take for example the 501Chair: it is a single surface with no undercuts, constructed in a single outline that modifies the surface structural strength and dictates its visual definition. It is a reduction. You can’t take from it and you can’t add to it.

Q. How important is experimentation with technology to your work

A. Complex technology helps to simplify design. Alias Studio tools (3D software) gave us the right tools to restrain and simplify a five metre-long line. SLS technology helps us to avoid elements that are unnecessary for the design, but are essential when production is done with plastic injection. The Upica sofa is a composition of four lines that creates one compound surface. It is a very slim and large surface that supports itself. If a few millimetres of the surface tight shape were changed, the sofa would collapse like paper.

Q. What would you describe as the distinctive qualities of your work and approach to design

A. Reduce for interdependency while keeping the essential sculptural and aesthetical elements.

Q. How did the 501 Chair project develop

A. The 501 chair evolved from an early project, My Trousers. These are trousers in which you can walk and sit. One of the things I realised when working on My Trousers was that sitting with a wider angle between the back and the thighs was not only comfortable, but good for the body posture. This new way of sitting allows the user to relax their back from tension. In my opinion, the traditional chair is an evolutional mistake that started way back with the design of the first chair. One thing is sure, sitting with a 90 degree angle is a very bad solution, particularly when it is for long hours, leaning forward to type on a computer and we are stuck with tables that are 72cm high.

Q. How did the OMI light project – and your relationship with Materialise (the Belgian manufacturing company that has adapted rapid prototyping for serial production) – come about

A. In 1999 I designed the first OMI lamp made from 120 disposable foam plates. The 120 plates were attached with a rubber band, which allowed the whole bunch to move and to create a type of biological worm mechanism. I showed this lamp at Salone Satellite in Milan 2000. It got very good reactions, but was very difficult to produce in conventional ways. The first meeting with Naomi Kaempfer, art director of Materialise, was just after my RCA graduation. My experience with 3D and RP technologies together with Materialise.mgx, a young experimental brand, was the perfect match.
The first project we worked on was OMI.mgx. It was to take the impossible design into production in the only possible way.

Q. How did you develop the Upica sofa, Coupe table and half-table

A. The Upica sofa evolved from the 501 chair. Its design focuses on the tight relationship between the physical and the visual structure. This object was carefully designed to create structural strength while keeping the essential sculptural elements. The result is a thin and light structure, different from each angle you look at it. The Coupe table transforms the dining surface into a functional tool. It is made from two skins; one creates the outer shape and the other that creates a deep wide bowl in the centre of the dining surface. The bowl can become a Champagne ice bucket, or fruit bowl. The half table is more of a lounge table – a single compound surface that creates the required table space. One is half and two is one.

Q. And the FAM suspended light

A. This light evolved from the need to control a larger working space. The standard working table lamps control just a small part of a working desk. FAM light was designed to meet my own needs. I needed a light that could move and light up to two meters of working desk. I wanted it to light up the computer while working on the desktop and then to be able to move to my modelling surface. My desk is usually full of bits and pieces, so I needed the light to be suspended, that’s why I decided to hang it from the ceiling. FAM stands for Free Axis Movement. In this mechanism there is no real axis, the light can move anywhere within a two metre diameter spherical space. It can be a directional task light and than pushed all the way up to the ceiling to produce soft ambient light.

Q. Do you see yourself as belonging to a tradition

A. It is hard to say. Tradition gives stability and comfort to the every daylife. I believe that as creators of new things, we have to question design each time again and again. Do we really like the chunky armchair? If we do, why? I insist on calling the Upica sofa a sofa and not a bench. The sofa is the largest statue in the living room. Some of the thickness of the upholstery hides the mechanical structure required by an object of this scale. Today we have stress analysis software that can help us to checking the strength of an object when using the minimum amount of material. In the Upica sofa, anything unnecessary has disappeared. In today’s technological reality, design should be seen also as a strategy for questioning and modifying traditional symbols.

Design Museum


Visit Assa Ashuach’s website at assaashuach.com

For more information on British design and architecture go to Design in Britain, the online archive run in collaboration by the Design Museum and the British Council, at designmuseum.org/designinbritain



Assa Ashuach


My Trousers, 2003
Assa Ashuach


501 Chair, 2004
Assa Ashuach


OMI.mgx light, 2004
Assa Ashuach
Produced by Materialise.mgx


Detail - OMI.mgx light, 2004
Assa Ashuach
Produced by Materialise mgx


Upica Sofa, 2005
Assa Ashauch


Coupe Table, 2005
Assa Ashuach



Coupe Table - lid detail, 2005
Assa Ashuach



Protoype of Free Axis Movement Light, 2005
Assa Ashuach



Prototype of Free Axis Movement Light, 2005
Assa Ashuach


Plan for Assa Ashuach's installation for Design Mart in the Design Museum Tank, 2005
Assa Ashuach

OF365 Furniture Group 旗下行业家具站点:
OF365 Furniture Group 旗下办公家具站点:
标准化办公家具网办公家具工程网钢制办公家具网品牌办公椅网、上海办公家具网北京办公家具网Office Furniture上海培训椅网
OF365 Furniture Group 全国服务商:
OF365 Furniture Group 推荐著名家具公司站点:
www.walterknoll.de www.vitra.com www.interstuhl.de www.wilkhahn.com www.samas.nl www.artifort.com www.vs-furniture.com
www.steelcase.com www.fantoni.it www.kloeber.com www.fritzhansen.com www.bene.com www.bisley.com www.hermanmiller.com
www.silver-chair.net www.faram.com www.wilkhahn.com www.girsberger.com
www.knoll.com www.sedus.com www.haworth-asia.com

OF365(中国)投资  上海纵横家具有限公司

电话:(86)021-34635339 传真:(86)021-34635118  
联系人:曾小姐   手机:15201860004 

版权所有 2009-2013 copyright ©