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Radice is a three-legged wooden stool, the result of iIdustrial Facility and Sam Hecht’s second collaboration with Italian furniture producer Mattiazzi – the first being the Branca chair that re-invigorated our imagination of what is possible with wood production.
Hecht and the office of Industrial Facility decided to push Mattiazzi further into the exploration of robot-craftsmanship, but this time to challenge structure as a diagrammatic concept, too. Radice finds its underlying beauty and simplicity in its structure. It is the bringing together of what appears the front-half of a traditional 4-legged stool, with a single back leg – the ‘root’. It is a visual improvisation, where two things meet unexpectedly.
“Radice has tension in its form and it is a slight surprise that the third leg works as well as it does to resolve the overall structure. It could be viewed as structurally diagrammatic, yet is made comfortable visually and physically because of how its third leg supports the seat,” says Sam Hecht.
The backrest is small and reassuring, allowing a coat or handbag to rest on it and the seat is open for large and small people. It is light both visually and in weight, using no screws or metal fittings, yet also passing stringent Bifma standards to ensure it is structurally sound, stable and reliable.
- Industrial Facility, UK c.2012
- Solid Ash of European origin
- Made in Italy
- Depth 435mm / 17"
- Width 450mm / 17.7"
- Height 800mm / 31.5"
- Seat Height 665mm / 26.2"
Sam Hecht was born in London in 1969. His training began at the Central Saint Martins School of Art. His interest in industrial design and architecture led him to apprenticeships including David Chipperfield. Hecht thus began to define the style that characterises his personality as a designer. A profound search for the essential, acute observation of the world we live in and a belief that simplicity can be inspirational. In 1993 he completed his masters at the Royal College of Art, followed by 3 years in California with Ideo, and 3 years in Tokyo. This period involved the collaborations with Naoto Fukasawa, producing some startling product typologies over the course of 6 years.
In 2002, he co—founded Industrial Facility with his partner Kim Colin. He began to work with Manufacturers, and the number of clients increased in just a few years. For Muji Japan he created the “Second Phone” (2004), which led to him being invited to become retained designer for World Muji. For Taylor’s Eye Witness, a Sheffield company, he also became main designer producing notable sequels to Robert Welch’s work, selected for the Museum fűr Kunsthandwerk, Frankfurt and awarded the Design Plus and of Gold Prize for 2006. More recently he has been appointed design advisor to Herman Miller. Between 2006 — 10, he acted as senior tutor at the Royal College of Art, London, forming Platform 12 and in 2011 was appointed visiting professor of HFG Karlsruhe in Germany. in 2010 he was awarded the ‘Designs of the Year’ for the Branca chair.
Among contemporary furniture manufacturers, Mattiazzi, the family owned producer of wooden furniture in Udine, Italy, is uncommon. While many producers in that region rely on third party factories and work in diverse materials, Mattiazzi operates with their own machines and hands, and has developed a healthy obsession for woodworking. Since 1978, when brothers Nevio and Fabiano Mattiazzi founded the company, Mattiazzi has steadily cultivated its local manufacturing culture. Their network of wood shops is diverse enough to support any manufacturing process the brand may need. Every shop has its own focus, from milling to lacquering, and a particular process always belongs to a specific part of town. But don’t let the neighborhood approach confuse you: Mattiazzi is no backyard shop. Their highly specialized craftsmen operate the most sophisticated machinery available to the wood industry. An eight-axis CNC milling machine allows wood to take the complex shapes associated with injection-molded plastic. Operating such a machine is an art and Mattiazzi disproves the modern myth that mechanized manufacturing is not a craft.